Humshakals: Music Review

The Men of Humshakals in 3
different roles

Starring: Ritesh Deshmukh, Saif Ali Khan, Ram Kapoor, Bipasha Basu, Esha Gupta

Music Composer: Himesh Reshammiya 

Similar revolting soundtracks like Humshakals were once heard from our composer Himesh Reshammiya when he went off the deep end in the mid 2000's. He practically sung every song and starred in many flop films. Although recently he somewhat has had success with his film The Expose, Reshammiya seems to be trying too hard again. At least he is not dominating this whole soundtrack. In Bollywood, excluding Salman Khan Ajay Devgan, or Akshay Kumar films, music for comedies are not held to a standard of any regular soundtrack due to the fact that they are usually ridiculous. With an experienced composer with tons of hits and successes like Reshammiya and mid-grade actors like Saif Ali Khan and Ritesh Deskmukh, the bar for Humshakals is very low.

The Humshakals album begins its continuous up tempo soundtrack with Caller Tune by Neeraj Sridhar and Neeti Mohan. This duet is obviously influenced by Reggaeton songs which attributes for its catchy beat. It is heavy with English phases with forced rhymes like tune and moon and random violins. However, Mohan and Sridhar are perfect for this song. The hook "Caller Tune Baby" simultaneously annoys and snags. This is the kind of a song a listener would love to hate. By far the best song on the album. 4/5

Surprise surprise, there is an item number in Humshakals. With the item number queen, Bipasha Basu starring we hear phrases like Billo Rani in Piya Ke Bazaar Mein. It is not the traditional item song, but it is not unordinary. Palak Muchhal's voice is a little timid for this three woman item number, and Reshammiya's weak voice doesn't add much to it either. A little folksy and not very catchy, this item number will not please the masses. 3/5

Piya Ke Bazaar Mein Still

Just Look Into My Eyes gives Humshakals a peppy upbeat feel. Ash King and Neeti Mohan are the perfect choice infuse youth into this album. Perhaps the lyrics a little basic, but if you don't pay attention to exactly what they are saying and listen to the electropop beat, it is not too bad. Although verging on a cheesy teen song, this is levels above the other songs on the album, and does not fit in at all in terms of melody. 4/5

Barbaad Raat combines the female vocalists, Shalmali Kholgade and Sanam Puri in this R&B Hip Hop number. Following the trend of the other songs, this one also uses English in pieces. The clapping and trumpets add an interesting twist, but the "Ooo woaao' pieces don't really do much to really hook you fully to the song. 3.5/5

The ladies are out for a swim

I'm sure everyone was wondering where Himesh Reshammiya's solo song was coming in Humshakals. It is humorously titled Hum Pagal Nahin Hai, and can be taken with dual meaning. Wondering if Reshammiya thinks he's crazy or as shown on silver screen. We see rather interesting rhymes again, such as Obama and DeGama. This song isn't as headache inducing as the ones before it, but is pretty boring and becomes nasal towards the end. 3/5

What would a comedy soundtrack be without Mika Singh? Mika pairs teams up with Palak Muchhal for Khol De Dil Ki Khidi which somehow manages to fuse a Punjabi rhythm with an exasperating country banjo. This song annoys is unforgivable ways that the Caller Tune didn't have. There are so many things going on in this song it is hard to pinpoint what is really happening. This song will, of course, add to the comedy of the movie but it is annoying for the listener to listen for their own enjoyment. 3/5

In the end, Humshakals offers a lively, yet irritating music. This soundtrack somehow manages to exceed expectations, slightly. It is a pretty good effort on Reshammiya's part, although the songs in which his vocals are incorporated in are by far the worst.

My Picks: Caller Tune, Just Look Into My Eyes

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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