11/1/2023 0 Comments Mitti song![]() But he has done a phenomenal job, and has created the era of Laxmikant-Pyarelal for me! And I am a sucker for that kind of music. Karan Malhotra, who had worked with Ajay-Atul in Agneepath and Brothers (both contemporary subjects) but shifted to Mithoon for Shamshera, states, “Mithoon is not someone usually associated with the big, commercial and historical actioner my film is. He said, “The makers originally wanted Rahman because of his reputation in such scores, but Salman- bhai put his foot down!” The result was there for all to hear: Veer effortlessly ranks among the career-best work of the composer duo! And Pritam agrees with this view.Ĭomposer Sajid (-Wajid) had once revealed that it was principally because of leading man Salman Khan that they were given the opportunity to create the superb soundtrack of Veer. Sheykhar points out that even Adipurush has not been designed really as a musical, the way most period films in the past were. However, both the leading composers concur that music in general gets scant importance of late. He agrees that this kind of branding of composers is unfair. Pritam added that he too would love to score music for such stories and do work in this genre that will stand out. ![]() ![]() “Those who heard the songs know that we can handle such subjects!” he declared. As a third option, Shankar-Ehsaan-Loy were assigned Mirzya, Manikarnika: The Queen of Jhansi and Samrat Prithviraj, presumably on the strength of Shankar Mahadevan’s classical work.Ĭomposer Sheykhar Ravjiani states that it is their (partner Vishal’s and his) misfortune that the only opportunity they got to score such songs, in the 2012 Arjun-The Warrior Prince, was for an animation film that barely got exposure. Rahman, while Ajay-Atul have been the choices for Thugs of Hindostan, Panipat, Tanhaji and Adipurush. Why is it then that only certain composers are considered when a subject is historical or mythological? A Jodhaa Akbar, Lagaan, Mangal Pandey: The Rising and Mohenjo-Daro have all gone to, ironically, the ‘techno’-whiz A.R. Is it fair to ‘brand’ the current composers? When Pritam has been known to compose rooted Indian melodies like ‘ Mere Dholna’ ( Bhool Bhulaiyaa) or ‘ Ghar More Pardesiya’ ( Kalank), Himesh Reshammiya for ‘ Main Jahaan Rahoon’ ( Namastey London) and a ‘ Om Namah Shivaye’ ( Banaras) and Vishal-Sheykhar have composed the music of Arjun-The Warrior Prince (2012), why do we restrict them all only to ‘modern’ or ‘contemporary’ music? And recently, to go off at a slight tangent, Amit Trivedi has excelled in the web series, Jubilee and the film Qala with a retro flavour that took us back eight decades?Īre music composers being branded when it comes to period films?
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