Wedding Pullav

“Wedding Pullav” movie poster.

Film: Wedding Pullav

Label: Zee Music Company

Music: Salim-Sulaiman

Lyrics: Irfan Siddiqui and Bullehshah

The eight songs do not break paths (to twist an adjective!), as the familiar déjà vu sensation is constant through the score. Lyricist Irfan Siddiqui has shown his limitations — despite his long absence — in the few films he has done so far (like “Fashion”) but is still patronized by Salim-Sulaiman, who too have failed to sustain in their careers as music makers a reputation for showing range.

Predictable meters and musical phrases, standard Punjabi beats, lyrical predictability ending in mediocrity and over-familiar vocals make this score sound completely ordinary. Even “Lagan Lagi” sung by Raj Pandit from the legendary Bulleh Shah’s work does not rise above the general functional level.

Let me clarify: “Wedding Pullav,” unlike so many recent albums, is not unbearable. But there’s that fatigued feeling throughout, and, since this is the duo’s first music effort after the early 2013 “Jodi Breakers,” we expected a modicum of freshness and newness even within the (I am sure) very constrained and insecure briefs. Every song is heard-before.

For example, “O Jaaniya” (Salim Merchant, Shreya Ghoshal, Raj Pandit) is a familiar number that seems to be lifted from the antara of a Pritam hit of last year in its mukhda that ends with the phrase “Toone mujhe kya kar diya.” Merchant sounds too reedy and shrill, and Ghoshal brings in the much-needed relief. The lyrics are full of the “Sifarishein” and “Himaakatein” kind of Urdu phonetic stuff that may sound great to some but has little appeal, meaning or recall.

Merchant is worse in “Party Karni Hai,” which, in the way it is sung, sounds like the petulant demand of a stubborn kid rather than a groove-rich number! Apeksha Dandekar is functional. Merchant’s duet with Arijit Singh, “Wedding Pullav,” has the wrong, raucous orchestration for a festive Punjabi-style number.

The twin-version “Naseeba” (Sunidhi Chauhan and Sreerama Chandra, separately) ends up almost like an aggrieved rant rather than the moving number it sets out to be. “Ishq Da Panga” (there we go to Punjabi again!) by Vipul Mehra and Shalmali Kholgade has the latter irritating us with her put-on vocal gimmickry. Kholgade is a good singer, so why does she have to come down to the level of a silly crooner?

Finally, a mini saving-grace, but not for being fresh as such, is “Banjaare” (Minal Jain, Digvijay Singh), in which the singers do make some effort at making the song acquire a modicum of relaxation in its delivery.

But by and large, this “...Pullav” has neither nutrients nor an appetizing or festive flavor.

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