Luv U Soniyo: Music Review

Music Director: Vipin Patwa

Starring: Neha Hinge, Tanuj Virwani 

Prepare to be romanced, well at least in a cheesy way. What else can a movie called Luv U Soniyo promise? The soundtrack is kind of a corny joyride, but nevertheless a ride. This soundtrack combines Mexican delights with the Indian beats. Be prepared for disaster!

Luv U Soniyo starts with one of my favorite singers, K.K, with Tumsa Nahin Hai Koi. The piano puts a beautiful spin on the song, but this song is really like any empowering romance song. K.K's soft vocals rise almost unbearably when he almost screams "Tums Nahin Hai Koi". Anwesha Sarkar's voice comes in towards the later and softens the song a little. Average. 2.5/5

Pyar Tera by Sonu Nigam has a sweet melody complete with piano like the previous song. It almost sounds like it has been pulled out of a nineties soundtrack. There is a corny English part which talks about how great love is. Just no. 2/5

Pyar Tera is done again in Love U Soniyo in Pyar Tera (Unplugged) sung again by Sonu Nigam, This one is a definite improvement on the original. The melody is kept nice and pure, but it still sounds nineties. 3/5

Luv U Soniyo is our title track by Remo Fernandez. This is where we first see our Mexican flavor. This song captures Mexico in a very annoying way, it almost sounds jarring. We hear phrases and words like, pencil, half a dil, bale bale, bhangra bhangra. This song is trying to do too much, and comes across as irritating 2/5

Eww, you got something  nastaaay
on your back. 

Chalo Chalte Hai Mexico is another Mexican tinged song sung by our sweet Shaan. This a softer selection, and thankfully sounds nothing like our title track. It comes across as endearing, but the English pieces "Can't you see you belong to me" spoil it. Still one of the better songs. 3/5

Sunidhi Chauhan, Sonu Nigam, and Joy come together for Youre My Valentine. If you have a thinking close to mine, you are already cringing at this title. This is the ultimate cheesy number of the soundtrack. Its so contrived and sounds like a thousand other songs. It is a mix of romance,dance, and pure cheesiness, especially when they say "Yo-o-u A-rrr-eee My Val-ent-iiiine". 2/5

Palko Hai Phool has the duo of Shreya Ghoshal and Shaan. This song mentions Valentines Day again. From the beat to the lyrics this song is a definite no. Too much half-baked romance. 2.5/5

Love You Soniyo (Mashup) is horrible. Most mashup songs never work. Its just an unsatisfying combination of the entire soundtrack. Don't listen. 0/5

Love You Soniyo has the power to make you cringe at its cheesy romantic songs. The compositions are like leftover compositions of the 90's and early 2000's. Stay away from this one!

My Picks If I had to Choose:  Chalo Chale Mexico, Pyar Tera (Unplugged)

Was this soundtrack that bad as I'm making it seem? You tell me!
BollywoodBegum

Check Out My Other Reviews!
Once Upon A Time in Mumbai Dobara: http://bollywoodbegum.blogspot.com/2013/07/once-upon-time-in-mumbai-dobara-music.html
Chennai Express:http://bollywoodbegum.blogspot.com/2013/07/chennai-express-music-review.html
D-Day: http://bollywoodbegum.blogspot.com/2013/06/d-day-music-review.html
Boyss Toh Boyss Hai:http://bollywoodbegum.blogspot.com/2013/07/boyss-toh-boyss-hai-music-review.html

Sexuality in Bollywood: Evolution of Female Desire Part One

Zeenat Aman in Satyam Shivam Sundaram

As vamps dissolved in popular cinema, the lead heroines’ sexual identity was given more space to evolve. The heroine was stuck in between being modest and being sensual. Essentially, she had to be sensual enough to lure the audience in, but not too sensual or she would seem to be an unfit companion for the honorable hero.  Zeenat Aman beautifully expresses the duality of modesty and sensuality in her role in Satyam Shivam Sundaram [1978]. Aman is a quiet village girl that although initially rejected by her husband, remains a dutiful wife. As the daughter of a Hindu priest, she is also depicted as a virtuous woman who spends a majority of her time visiting and maintaining a Hindu temple. However, her religious devotion is given dichotomy of both virtue and sensuality.  Aman also presents her sexuality in her general appearance. She wears traditional saris, but wears no blouse underneath, leaving her breasts visibly veiled under thin cloth. However, Aman’s  religious, obedient wife persona, balances her refined sensuality. This heightened sense of the heroine’s sexuality has been taken further in modern Bollywood movies.

Compared to modern Bollywood films, Zeenat Aman’s sexuality in Satyam Shivam Sundaram seems subtle. It has been more acceptable for leading ladies to both express their carnal desires very openly. Unlike Aman, they were no longer mainly objects of sexual desire, but possessed a sexual desire of their own. This sexual expression of the heroine has been tactfully addressed in some contemporary films, such as blockbuster The Dirty Picture [2011]. The biopic starring Vidya Balan is inspired by the life of the infamous South Indian sex symbol, Silk Smitha. This audacious poster matched the audacity exhibited in the film itself.

The Dirty Picture has dual layers of sexuality. The first layer is her sensual image in her films, and the second layer is her personal relationships with men in the film industry. Balan has romantic relationships with all three men, and intimate relationships with two of the three. She jumps from one brother’s bed to the next, hoping to find love and acceptance. Sexuality both fueled and destroyed Balans’s career in The Dirty Picture. She is in continual pursuit to find her soulmate, but all she receives is lustful men who believe she is like racy image she portrays onscreen. By the time she realizes she loves Hashmi, a man who appreciate her for mind and body, it is too late. Even though this film is not abundant with much vivid sexual imagery, it achieves an intelligent portrayal of the pursuit of love and happiness.

Vidya Balan "The Dirty Picture"

Recent films, like The Dirty Picture and Jism,  have been able to express females as not only  being an object of desire, but having their own desires and acting upon them. Filmmakers like Mahesh and Pooja Bhatt have included several elements of female sexuality in their films, that will be discussed in my later article. What do you think of Bollywood's evolution of female desire? Do you think that Bollywood is becoming too westernized, or is Bollywood evolving as society becomes more modernized and submits to the changing social norms?

Look for more of Sexuality in Bollywood Series in the Future.
BollywoodBegum

Article ©BollywoodBegum2013. All  Rights Reserved. 

BollywoodBegum claims no credit for any images posted on this site unless otherwise noted. Images on this blog are copyright to its respectful owners. If there is an image appearing on this blog that belongs to you and do not wish for it appear on this site, please E-mail with a link to said image and it will be promptly removed.

Sexuality in Bollywood: Return of the Vamps

Bipashu Basu "Beedi"

Sexuality always resonated with the vamp in older Bollywood films, rather than the heroine. Since the heroine had limited displays of blatant sexuality, the vamp's purpose was to be the essence of sexuality for the film. However, as females began to posses more sexuality during the 90's and early 2000's, vamps retreated in the back, and there was significant decrease in item numbers. Recently, there has been a reemergence of the vamp in new item numbers and plot lines,when sexual power has been revoked heroine, such as Dabangg and Omkara.

In older Bollywood films, vamps were typically featured briefly  in item numbers where they exposed  quite a bit of their bodies while dancing suggestively to upbeat melodies. These dances were performed classically in the nightclub, like “Piya tu Ab to Aaja” from Caravan [1971], or in a rural setting, like “Mehbooba Mehbooba” from Sholay [1975]. So many popular songs have used the vamp’s sexuality as apparatus to distract to the villains. In Sholay, Helen’s racy dance serves as a diversion to Amjad Khan and his circle of bandits. Khan, a very witty criminal, is momentarily diverted from his path of terror as he watches as scantily dressed Helen dances around a fire before him.
 

Helen in "Piya Tu Ab To Aaja"

Additionally, the vamp rarely plays a significant role in the film. If her role goes beyond her appearance in a song, she is portrayed as a brash woman of loose moral. Like Helen and Aruna Irani in Caravan, the vamp will often pose as competition for the heroine or create additional obstacles in the film. There is a clear distinction between the heroines and the the vamp. The dominance of the heroine over vamp is seen in several films. In Caravan, Aruna Irani, the vamp, relentlessly pursues the hero, Jeetendra. In many songs, Irani is seen dancing aggressively in skin exposing clothing to seduce Jeetendra. Despite her efforts and excessive skin show, Jeetendra is more interested Asha Parekh, the demure, modestly dressed heroine.
   

Helen, the other dancer in Caravan, falls into another stereotype of the vamp. Helen is having an affair with the Parekh’s husband, and plans to kill her to steal the family fortune. The beginning of “Piya Tu Ab To Aaja”, features Helen dancing in a short red dress desperately pleading for her lover to come to her.  In this particular song, a world of desire is constructed by the suggestive lyrics and male and female panting, paired with Helen’s erotic dancing. Towards the end when Helen’s dress gets caught on a nail, she strips down to a tiny gold sequined top and a mini-skirt with a slit down the side. The closure of the song is especially laden in sexuality when the lights dim and she crouches with a male in a small cage.

In very recent times, the vamp has reemerged to some extent, after somewhat disappearing in the 90's and early 2000's. Trailer after trailer combines with over-sexualized item numbers, featuring ladies’ whose only purpose is to provide pleasure to the male audience. In these movies, if a woman’s character’s existence is extended beyond the number, her role is along the lines as vamps from older cinema.  Songs such as the immensely popular, “Munni Badnaam Hui” from Dabangg [2010], and "Beedi" from Omkara boast women dancing for dozens of drunken men. Parallels can be drawn to these songs and songs from the past dominated by vamps like, “Mehbooba Mehbooba” from Sholay [1975], mentioned earlier. 

Malaika Arora Khan "Munni Badnaam Hui"

In Dabangg, Malaika Arora Khan, Munni, performs for the villain and his minions. Similar to a vamp, Khan is seen vigorously shaking her hips and thrusting her chest forward as she mingles among the men. In contrast to Khan, the heroine, Sonakshi Sinha, is minimal in the sensuous thrills she delivers for the male audience. Thus, Sinha is able to attract the hero due to her coy character. Munni’s function in Dabangg is analogous to Helen’s function in Sholay, because they both compensated for the sensuality that the leading ladies did not provide.

It seems as if some Bollywood movies are going backwards. Item songs may have mass appeal, but Bollywood should be able to revert to the fusion of the heroine with the vamp, and have heroines doing the item number instead of a random actress who are inessential to the film itself. With time, Bollywood may be able to find a proper footing in depicting female sexuality.

Look for more of Sexuality in Bollywood Series in the Future.
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Article ©BollywoodBegum2013. All Rights Reserved.

BollywoodBegum claims no credit for any images posted on this site unless otherwise noted. Images on this blog are copyright to its respectful owners. If there is an image appearing on this blog that belongs to you and do not wish for it appear on this site, please E-mail with a link to said image and it will be promptly removed.

Boyss Toh Boyss Hain: Music Review

Music Composers: Anuj Garg, Sayanthi-Shailendra, Willy, Dhiren Raichura, Dhwanit Joshi

Starring: Raj Kumar Yadav, Dhruv Ganesh, Aarya Kumar, Divya Dutta, Gulshan Grover 

Forget the others, I'm interested in the
mannequin without a head

What to say about the music of Boyss Toh Boyss Hain?  First of all the movie has quite a name, so it certainly needs a soundtrack to back it up. We have a variety of composers here, so each track has its own flavor. Boyss Toh Boyss Hain is exciting and experimental.

To kick off Boyss Toh Boyss Hai we have the title track, Boyss Toh Boyss Hain. This Hinglish track is sung by Neeraj Sridhar and Willii. Even though this is a title track, it is actually pretty catchy, especially when the female voice cuts in and says "Hai Ram, Boys Toh Boys Hain". Definitely one of the best on the album. 4/5

The next song we have is Mika Singh's Gol Gol. This song is tinged with Punjabi techno. The "Gol Gol" part  instantly catchy, but it does have English interludes saying "Shake your Booty", similar the booty shake in Chennai Express', One Two Three Four. Click Here For My Chennai Express: Music Review  But besides that booty shake piece, this is a fantastic track with tons of variation 3.5/5

Our most Punjabi style number is Kachha Papad features Labh Janjua and Anuj Garg. There is a interesting mix of rock, R&B, and Punjabi here. The guitar solos are wonderful, but besides these short intervals of instrumentals there is nothing to separate this song from other Punjabi numbers. Decent. 3/5

Out of all these eligible bachelors, I would
choose the creepy silver man in the middle

Mohit Chauhan's voice brings a good balance to the Boyss Toh Boyss Hain album in Sab Kuch Badal Gaya. This song literally begins with all clouds. It is starts of light and airy with a light flute beat, then  builds an inspirational sounding romance song. However, it is interrupted by a voice singing in English, Sayanthi-Shailendra. This spoils the song for only momentarily, until violins and sweet pianos come to the rescue. This is a different kind of song, and not something to be ignored. 3.5/5

Coffee Shop Mein is a song you would expect from a movie called Boyss Toh Boyss Hain. Shashaa Tirupathi's voice is seductive in this entertaining Hinglish number. This is a fast paced number flows rapturously, but there is not necessarily a hook, since the whole song is it a hook itself. 3/5

The composers pull Sunidhi Chauhan and Anup Jalota in for the uplifting song, Dreaming. This song has a light electronic beat, and is sung in Hinglish once again. The lyrics are a little cheesy, but the vocals of both singers are truely magnificent.  Jalota's voice is reminiscent of Bollywood from the seventies and eighties, while Chauhan brings in a modern twist. 4/5

Boyss Toh Boyss Hain returns for a remix. Boyss Toh Boyss Hain Remix picks up the electronic beat and speeds it up a little. There is not a huge difference between the two. 3.5/5

For a smaller film, with mostly unknown composers, Boyss Toh Boyss Hain soundtrack is very good. The composers genuinely tried to create unusual songs while staying true to the Bollywood roots. This soundtrack can work beyond the silver screen and into your car.

My Picks: Boyss Toh Boyss Hain, Dreaming, Sab Kuch Badal Gaya, Gol Gol

Check Out My Other Reviews:
D-Day: http://bollywoodbegum.blogspot.com/2013/06/d-day-music-review.html
Ramaiya Vastavaiya: http://bollywoodbegum.blogspot.com/2013/06/ramaiya-vastavaiya-music-review.html
Issaq:http://bollywoodbegum.blogspot.com/2013/06/bollywood-music-review-issaq_21.html

Which is your favorite Song?
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Chennai Express: Music Review

Music Director: Vishal-Shehkar
Starring: Shahrukh Khan and Deepika Padukone

So, after my Chennai Express: First Look Review I have come back to you with my music critique. Vishal-Shehkar has produced soundtracks for recent popular Shahrukh Khan films, so its  not surprising they would be the composers for Chennai Express. Chennai Express' songs, for the most part, are a ride to South India.

Chennai Express unfortunately begins with One Two Three Four sung by Vishal Dadlani and Hamsika Nayr, This song begins with Tamil verses and flows in to Hinglish for the remainder of the song. This song starts well, and is definitely catchy, but when the English verse "One Two Three Four, Get on the Dance Floor" comes in the song gets very odd. Especially when they say booty shake. These immature lyrics could have easily been done before, but there was a reason why no one else tried this. 2.5/5

Chennai Express redeems itself with Chinmayi Sripad and Gopi Sundar in Titli. This romantic duet song begins beautifully with Tamil verses and continues in Hindi with Tamil slicing through. Its ethereal instrumentals almost give it a magical touch. Chinmayi's and Gopi's smooth voices transition well with each other. Titli is reminiscent of Chandni Chowk to China's Tere Naina. Refined and delicate it is winner all the way. Officially obsessed. 5/5

Four! Booty Shake Booty Shake!

Tera Rastaa Chhodoon Na unites Amitabh Bhattacharya and Anusha Mani for a romantic number. This song plays a little on Titli's beats, but its a little fast paced. Bhattacharya sounds uninterested, while Mani excels. This song is purely situational, so it might go well with the film's narrative, but its not good to listen alone. 3/5

Next is Kashmir Main Tu Kanyakumari  featuring Sunidhi Chauhan, Arjit Singh, and Neeti Mohan. I'm glad to see Arjit Singh-Sunidhi combo.This song is not bad, but it sounds like it should be in a musical. It's cute, and definitely one of the better tracks of the album. Arjit Singh and Sunidhi's voice coincide with Shahrukh and Deepika's. 4/5

The fourth song is Ready Steady Po, primarily featuring Vishal Dadlani and a handful of singers. This song falls into the obscure desirap/electronica/dubstep category. This song is mostly rapped in English and is at the most mildly desi flavored. Its almost like a unbearable second theme for the movie.What were they thinking here? 2/5

"Our soundtrack is disappointing."
"I know. It's sad, isn't it?

SP Balasubramanyam returns to Bollywood with the song Chennai Express. This song starts off horribly, but when Jonita Gandhi's voice comes in it picks up pace a little. I was astonished that this song also had dubstep and a lot of English verses inside. The only good part is the hook "Chenai-ai-ai-ai", and there is nothing more to say. SP's voice has definitely aged. This is supposed to be the theme for the movie, and it's exactly what it is. 2.5/5

Dubstep comes back once again in Titli (Dubstep Version). This song doesn't compare to the original version of Titli, but can work for dubstep listeners, as it ties the major elements of dubstep together with all the right Bollywood elements. 4/5

Chennai Express Mashup is just a deranged swirl of all the songs in the soundtrack with yet another dubstep twist. There is nothing good about this. At moments it gets loud, unbearable and headache inducing. It will most likely be playing as the ending credits are rolling. 1/5

Chennai Express' soundtrack ultimately fails because of its overwhelming use of dubstep and English verses. The soundtrack could have been better if they stuck more to the Indian roots instead of trying to tackle multiple genres. I expect better from Vishal-Shehkar.

My Picks: Titli & Dubstep Version, Kashmir Tu Kanyakumari

Check out my other reviews!

Did you like this soundtrack?
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D-Day: Music Review

Starring: Arjun Rampal, Rishi Kapoor, Irrfan Khan, Huma Qureshi, Shruti Hassan

Music Directors: Shankar-Ehsaan-Loy

The Shankar-Ehsaan-Loy trio is famous for catchy music that is reflective the overall theme of the movie, and  D-Day's music is no exception. D-Day is a Bollywood film that crosses over the border and into Pakistan, when Irrfan Khan is sent to Karachi on a spy mission. After viewing the trailer, it seems what follows is a chaotic, political thriller entangled with romantic trysts. Here we see many of our favorite singers come forward, such as Javed Ali, Shankar Mahadevan, and Sukhwinder Singh.

Mika Singh opens D-Day with the qawwali Duma Dum. This song is a remake of the popular Lal Meri Pat, that we have heard from popular Pakistani artists like Nusrat Fateh Ali Khan, Abida Parveen, and Junoon. The instrumentals are rich and distinguish this song , however this song doesn't compare with the other others vocally. It would have fared better if another singer was put behind the mike. A good attempt, but nothing really new. 3/5

Alvida features Loy Mendonsa, Sukhwinder Singh, Nikhil D'Souza and Shruti Hassan herself . This mellow song has mostly delicate vocals and light instrumentals. Hassans' vocals are whispery and ghostly, but she is able to add a nice touch to the song. Singh and D'Souza's voice really takes this song to a higher level and really highlights the song. 4/5

"Exactly how much curry did you get under
your fingernails"

D-Day has another qawwali-esque song called Murshid Ke Holi. Shankar Mahadevan, Javed Ali, and Munawar Masoom voices blend well together with this traditional beats. The instrumentals are also rich here, as they are throughout D-Day. But what really distinguishes this one from any other fantastic qawwali? Nothing really. It runs over seven and a half minutes, and its so repetitive that its difficult to get all the way through. 3.5/5

Rekha Bhardwaj returns in a solo, Ek Khadi. The tabla is very soothing when used in unison with other instruments, but this song isn't really unique in any way. Not much to say about this one. No repeat value. 3/5

D-Day ends with the short track Dhuaan with Siddharth Madhadevan and Rahul Ram's gritty vocals. The orchestra instrumentals give the song a perilous touch of beautiful doom. It almost sounds like a some type of church prayer and chant. There are not many dark Bollywood songs like this, so something like this is very special.  4/5

If you are a die hard Shankar-Ehsaan-Loy or qawwali fan, just take a few of these songs from D-Day and be on your way.

My Picks: Alvida, Dhuaan

Check out My Other Reviews:

Chennai Express:http://bollywoodbegum.blogspot.com/2013/07/chennai-express-music-review.html

Issaq:http://bollywoodbegum.blogspot.com/2013/06/bollywood-music-review-issaq_21.html

Boyss Toh Boyss Hai:http://bollywoodbegum.blogspot.com/2013/07/boyss-toh-boyss-hai-music-review.html 

Share your Thoughts!

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Chennai Express: First Look

Director: Rohit Shetty

Starring: Shahrukh Khan and Deepika Padukone

Shahrukh Khan + Rohit Shetty Comedy= No. So far, it looks very dismal. The director of Chennai Express, Rohit Shetty, has brought us the Golmaal series, the fourth of which is slated to release in 2015, and other disasters like, All the Best and Sunday. So keeping the ridiculous action scenes in mind, imagine Shahrukh Khan doing these stunts. Now, look at the poster above. This is how they want to market Chennai Express, by gathering the largest, scariest South Indian men and having them stand around sunglass wearing Shahrukh Khan and Deepika.

Anyway, lets forget for a moment that Shahrukh Khan is Deepika's elder by about twenty years and focus on Chennai Express itself. From the trailer (link below) it seems like a combination of Jab We Met and Veer Zaara. Shahrukh needs to disperse some ashes so he travels from Mumbai to Rameshwaram to do so. On the train ride, he meets Deepika Padukone,  a spunky South Indian, who annoys him to that point that he falls in love with her. In between we have plenty of Salman Khan-esque fight scenes, lots of South Indian men, and exploding cars. I love Shahrukh Khan, but from what I've seen so far...I can already assume this one isn't going to be good.

On the bright side, I can only hope that the music will be great. Chennai Express marks the return of singer,SP Balasubramanyam, to Bollywood. SP was famous for voicing Salman Khan songs  for films like Maine Pyar Kiya and Hum Aapke Hain Koun. We hear snippets on this his voice in the title through the trailer. The music directors behind Chennai Express the super duo, Vishal-Shekhar, but so far I'm not expressed from the song trailer for "One Two Three Four" (below). To put it politely the song is a major fail. "One Two Three Four" is in the form of a low grade item song. The dancing is simple and the song is unintelligent. I'm sure anyone could have thought of the lyrics "One Two Three Four Get on the Dancefloor". I can only hope the other songs are good. High hopes for SP's return.

Chennai Express is quickly sinking boat. Hopefully the music and the plot will be able to compensate for the poor trailers.

What do you think?
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