MUSIC There is predictability written all over the number ‘Jaane Kyun Pyaar Mein’ the moment Daboo Malik is heard behind the mike. Arrangements are strictly 90s as well and eventually the song turns out to be one of those Nadeem Shravan tracks in the era gone which can’t really be expected to become popular in the current musical scenario. Shweta Pandit does manage to come up with a spirited rendition and one can sense that she is singing with her heart in. However, done to death lyrics by Panchhi Jalonvi and an outdated feel relegate ‘Jaane Kyun Pyaar Mein’ to one of those heard before outings. Later the song also arrives in the ‘remix version’ which sees new find Pavni Pandey replace Shweta. The no-show continues with ‘Resham Ka Dupatta’ following next. Written by Vijay Akela, this ‘item number’ has lyrics like ‘resham ka dupatta faad diya’ and much more which clearly describes the feel and mood of the song. Worse, this attempted fusion track has none other than Rekha Bhardwaj at the helm of affairs which makes one wonder what made her sign the song in the first place. One immediately moves on to the next track in the album, ‘Ajnabee Ehsas Ko’, and there is some redemption with the song taking a softer route. Ok, so this one doesn’t break much ground either but in comparison with all the songs heard so far, this one can at least be revisited for a second hearing. Soham Chakrabraty gets all romantic and mushy for this Panchhi Jalonvi written love song which moves at a slow pace and thankfully gets ‘thehrav’ in the album which otherwise wasn’t really going anywhere. There is some preaching at the beginning of ‘Samajhdaar Ko Ishara’ which is as 80s as it gets. However, there is an advent of beats soon after with Sunidhi Chauhan, Sandeep Acharya, Harshdeep, Daboo Malik and A D Boyz coming together in an obvious attempt to recreate ‘Deewangee’ (Om Shanti Om). In fact right from the ‘mukhda’ to the overall arrangements, ‘Samajhdaar Ko Ishara’ just follows ‘Deewangee’ to the T, hence aiming at getting the fusion ‘qawalli’ right. Now let’s give it to Daboo Malik and Panchhi Jalonvi because they actually manage to get it right to some extent as well with the song sounding better after repeated listening. A rather long ‘Holi’ track (lasting over 7 minutes) follows next with the beginning of ‘Rang Dalunga Chunri’ reminding one of the manner ‘De De Pyaar De’ (Sharaabi) started. From here on its the trademark sound of ‘sa ra ra ra’ which takes over which slots ‘Rang Dalunga Chunri’ into many a Bhojpuri tracks that are made available on music stands every festive season. Udit Narayan is the right choice for this song though it is surprising to see Shreya Ghoshal joining in as well. Dipak Giri and Shalini Srivastava lend support to this average sounding track by guest composers Satish-Ajay and lyricist Nafees Alam which is strictly meant for the smaller town audience. This is followed by another 7 minute long track which has contribution by guest composer and lyricist Sujeet Chaubey. Kailash Kher is roped in to sing this ‘dard-e-judaai’ number ‘Teri Yaad Aayi’ which belongs to the school of music that the likes of ‘Laal Dupatta Malmal Ka’ and ‘Ayee Milan Ki Raat’ indulged in 20 years back.
OVERALL Do Dilon Ke Khel Mein maintains an outdated feel to it right through its duration which is its major undoing. Yes, there are two or three songs that do manage to catch one’s attention. However, with audience expectations being reasonably high in the current times and anything ordinary finding immediate rejection, Do Dilon Ke Khel Mein doesn’t stand much chance for itself.
OUR PICK(S) Samajhdaar Ko Ishara, Ajnabee Ehsas Ko