Musician composer AR
Rahman and filmmaker Ashutosh Gowariker have given smashes like Lagaan, Swades and Jodhaa Akbar in the past few decades and much was predictable of
them when they came together for Mohenjo Daro. That bard Javed Akhtar too was
part of the group which made the occasion all the more stirring. Normally, when
you make a history movie, you try to reconstruct the visions and resonances of
that era. But so little is realistically known about the Mohenjo Daro period
that a realistic restoration doesn’t seem probable.
Rahman and Akhtar must have
been hindered by the fact that there is no auditory records of the linguistic traditions
of the era and the symbols found too haven’t been decoded with great genuineness.
The most reasonable solution to the difficult situation was perhaps to inscribe
the lyrics in Hindi.Jawed Akhtar has to be commended for his great work in
penning down a song for a movie based on an era of which little is known. But
the presence of a made-up ethnic lingo alongside Hindi doesn’t quite help.
The album starts with
Mohenjo mohenjo sung by Arjit Singh, AR Rahman, Bela Shende and Sanah Moidutty.
The refrain work here is brilliant and the instrumentation is grand in scope,
as suitable as the opening song of an impressive romance. Arijit Singh is outstanding
as ever, as is the collaboration of singers complementing him. The tribal feel
to the song reminds one of the Africa folk song and also has an Egyptian
undertone to it.
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