Badrinath Music Review

A theatrical poster of "Badrinath Ki Dulhaniya" featuring Varun Dhawan and Alia Bhatt. (Twitter photo/@Varun_dvn)

"Badrinath Ki Dulhania" (T-Series)

Music: Bappi Lahiri, Amaal Mallik, Akhil Sachdev & Tanishk Bagchi

Lyrics: Indeevar, Shabbir Ahmed, Kumaar & Akhil Sachdeva

We have two kinds of films today – films with an old song (or two and in one sordid case three!) mutilated, and movies without such “re-creations” that should by rights be called desecrations! This one falls in the former category, which is getting alarmingly commoner with filmmakers having zilch ethical values and even lesser aesthetics in music and lyrics.

The covert copy here is the title-song, whose main segment is taken from the 1966 Shankar-Jaikishan classic, “Chalat Musafir” from “Teesri Kasam.” This tune, doubtlessly taken from an old folk song, has been copied by many down the years, including twice by Narendra Chanchal for his “Mata Bhents” albums in the ‘90s!

To be fair, the version here (Dev Negi, Neha Kakkar, Monali Thakur, Ikka) has a lot of new tenor, though even those fall in the familiar mould with rap and compositions at different junctures being far from seamless. The mélange finally seems inspired by a mix of songs and only the catchy flow of the original saves the day!

The open copy is “Tamma Tamma Again” is from Bappi Lahiri’s 1990 “Tamma Tamma” from “Thandeaar”, which is sung by Badshah (who also writes the rap) along with the original voices of Bappi Lahiri and Anuradha Paudwal. The original lyrics are by Indeevar and the add-on verse by Shabbir Ahmed. Excerpts of Ameen Sayani’s voice are actually used here! This one is raucous and one of the inferior tracks in this despicable genre.

Of the original, Amaal Mallik’s “Aashiq Surrender Hua” (Shreya Ghoshal-Amaal Mallik) is fine, even though it is a major harkback to a typical Laxmikant-Pyarelal number of this kind in the ‘70s and ‘80s. The words (Shabbir Ahmed) are fair, including with amusing references to Shah Jehan and Taj Mahal.

The synthetic and very done-before melody of “Roke Na Ruke Naina” (Arijit Singh) will polarize even aficionados of new film music: they will either love or hate its cloying, synthetic and almost orced and humdrum melody. And Singh is a drone in this boring Amaal Mallik-Kumaar creation.

“Humsafar” (Akhil Sachdeva with Mansheel Gujral) is a soft and soothing composition that works—as a tune. The lyrics are a commonplace fit to the metres (both lyrics and tunes are by Sachdeva), but Mansheel Gujral impresses with her accomplished vocals in the limited scope she gets. She provides the haunting quotient to the song.

A strong disappointment here is Sachdeva himself, who is atrocious in his diction (“Tujhe” is “Tuze” and more), polluting his song completely! Methinks that the FIRST requisite asked for in a singer who sings in a film (as opposite the almost-extinct Indipop) today should be pronunciation. That’s an aspect that is getting increasingly shortchanged today. An entrance exam could perhaps eliminate the non-singers!

Rating: 2.5/5

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