By:
Joginder
Tuteja,
IndiaFM
Thursday,
September
28,
2006
In
the
times
when
every
film
maker,
whether
big
or
small,
is
making
big
news
about
his
film
from
the
announcement
stage
itself,
Sooraj
Barjatya,
in
typical
Rajshri
Productions
way
of
film
making,
has
kept
low
profile
and
wrapped
up
his
film
Vivah.
Starring
the
Ishq
Vishq
jodi
of
Shahid
Kapoor
and
Amrita
Rao
in
the
lead
roles,
Vivah
is
being
touted
as
a
'journey
from
engagement
to
marriage'.
While
Sooraj's
first
three
films
[Maine
Pyar
Kiya,
Hum
Aapke
Hain
Kaun,
Hum
Saath
Saath
Hain]
boasted
of
music
by
Ram
Laxman,
Anu
Malik
was
roped
in
for
Main
Prem
Ki
Deewani
Hoon.
For
Vivah,
Sooraj
goes
back
to
veteran
Ravindra
Jain
for
compositions
and
lyrics.
Incidentally
Vivah
is
his
17th
film
with
Rajshri.
When
compared
to
some
of
the
high
profile
pre-release
buzz
created
for
music
of
biggies
in
recent
months,
Vivah
has
taken
a
different
approach
by
being
subtle
all
this
while.
Does
the
subtleness
reflect
in
the
music
as
well?
And
above
all,
does
it
bring
back
the
vibrant
effect
of
'Maine
Pyaar
Kiya'
and
'Hum
Aapke
Hain
Kaun'?
The
answer
is
NO.
On
second
thoughts,
it
doesn't
even
come
close
to
'Main
Prem
Ki
Deewani
Hoon',
which
itself
had
its
share
of
detractors.
There
is
a
definite
Indian
feel
in
the
way
the
opening
song
'Mujhe
Haq
Hai'
is
composed,
arranged
and
presented.
A
song
about
a
couple
being
at
stage
when
they
are
ready
to
give
themselves
to
each
other
and
expect
the
same
in
return,
it
is
a
'raaga'
based
melody
that
grows
on
you,
albeit
after
you
have
heard
it
far
more
number
of
times
than
you
may
actually
give
to
a
song
from
an
average
flick.
This
Udit
Narayan
-
Shreya
Ghoshal
song
indeed
requires
immense
patience
to
continue
hearing
the
song
time
and
again
for
it
to
be
grasped
but
eventually
when
it
does,
it
sticks
to
you.
Simple,
subtle
and
situational,
don't
expect
'Mujhe
Haq
Hai'
to
be
one
of
your
quintessential
Bollywood
love
song
that
follows
an
easy
going
dream
world
approach!
Pairing
of
Udit
Narayan
and
Shreya
Ghoshal
returns
with
'Do
Anjaane
Ajnabi',
yet
another
situational
song
about
a
couple
who
are
strangers
to
each
other
but
are
destined
to
be
together
soon.
The
thoughts
going
in
each
other's
minds
and
the
emotional
moments
they
are
having
[something
which
is
common
between
the
two]
is
the
subtext
of
this
song
that
is
good
on
lyrical
quality.
Just
like
'Mujhe
Haq
Hai',
even
this
track
follows
a
'raaga'
based
approach
but
after
a
close
hearing
starts
sounding
quite
pleasant.
No,
it
may
not
appeal
to
the
ones
looking
for
a
'dhinchaak'
variety
but
for
those
looking
for
simplicity
in
their
music,
Vivah
follows
a
sweet
route.
Third
straight
duet
in
a
row
is
crooned
by
Udit
Narayan
and
Shreya
Ghoshal
as
the
background
music
heard
in
the
film's
teasers
marks
the
opening
of
the
track.
'Milan
Abhi
Aadha
Adhura
Hai'
is
based
on
melody
with
usual
Barjatya
stamp
of
music
to
it
but
somehow
the
song
doesn't
really
appear
to
be
of
the
kind
that
would
work
outside
the
film.
It
is
easy
on
ears
but
overall
the
impact
is
not
of
the
kind
that
makes
it
one
of
those
much
sought
numbers
after
you
have
heard
it
a
couple
of
times.
A
song
about
two
youngsters
waiting
to
be
united
forever,
it
just
about
passes
muster.
When
Sooraj
Barjatya
is
at
the
helm,
how
could
a
marriage
be
behind?
Especially
with
the
film's
title
itself
being
Vivah,
it's
all
the
more
identifiable
to
have
a
song
like
'Hamari
Shaadi
Mein'.
Babul
Supriyo
is
the
male
partner
of
Shreya
this
time
around
and
he
comes
so
close
to
Kumar
Sanu
in
his
rendition
that
one
is
actually
required
to
double
check
the
credits.
A
feel
good
track
about
a
guy
becoming
impatient
before
his
marriage
and
wanting
to
hurry
up
the
entire
affair,
its
musical
arrangements
are
straight
out
of
'Hum
Aapke
Hain
Kaun'.
First
foot
tapping
number
of
the
album
that
has
a
rhythmic
appeal;
it
is
the
first
(and
only)
track
in
the
album
that
shows
potential
to
become
popular,
though
a
long
run
for
the
song
is
ruled
out.
After
all
the
waiting,
wooing
and
marriage
comes
a
family
number
'Kal
Jisne
Janam
Yahan
Paaya'.
Uhhh,
well
the
song
really
seems
too
old
fashioned
now
and
is
of
the
kind
that
could
have
been
left
behind
in
'Hum
Aapke
Hain
Kaun'
era.
Agreed
that
the
emotions
are
universal
and
families
continue
to
be
together
but
a
song
like
'Kal
Jisne'
is
so
situational
that
it
is
difficult
to
imagine
it
being
played
by
someone
while
at
home
or
riding
a
car.
A
song
about
families
of
the
young
couple
(Shahid
Kapoor
and
Amrita
Rao)
feeling
nostalgic
about
their
children's
upbringing
and
how
they
have
grown
up
from
being
toddlers,
'Kal
Jisne'
by
Suresh
Waadkar
and
Kumar
Sanu
does
have
an
Indian
feel,
but
is
strictly
for
the
situation.
It's
back
to
the
'Nadiya
Ke
Paar'
times
from
the
very
first
note
of
'O
Jiji'
where
Pamela
Jain
and
Shreya
Ghoshal
sing
for
the
two
sisters
who
are
conversing
about
the
elder
one's
husband-to-be.
Belonging
to
the
late
70s
style
of
compositions;
it
has
a
'pahadi'
folk
flavor
to
it
and
is
again
modeled
on
a
small
town
setting.
Though
urban
audience
would
hardly
go
gaga
over
the
song,
the
song
may
relate
to
the
interiors
where
such
songs
are
still
heard
in
Bhojpuri
and
other
local
dialect
languages.
Sound
of
trumpet
marks
the
beginning
of
'Tere
Dware
Pe
Aai
Baraat',
a
marriage
procession
song
where
the
groom's
'baraat'
has
arrived
at
the
girl's
place.
An
extremely
ordinary
number
with
nothing
new
about
it,
it
is
an
umpteenth
version
of
dozens
of
such
tracks
heard
in
the
past
since
the
60s.
Sudesh
Bhonsle
and
Ravindra
Jain
come
together
to
render
this
song
that
can
be
comfortably
skipped.
Now
it
is
all
left
to
Sooraj
Barjatya
as
one
waits
to
see
how
has
he
picturized
it.
In
an
attempt
to
make
the
album
a
complete
Indian
affair,
there
is
an
'aarti'
making
an
appearance
towards
the
album's
end
as
'Jai
Gauri
Maa'.
Sung
by
Pamela
Jain,
this
2
minute
track
too
is
not
a
new
experience
in
itself
as
one
has
been
hearing
this
tune
since
time
immortal
in
'Raam
Siya
Raam'
version
too.
Taking
the
celebration
to
its
logical
conclusion,
'Chota
Sa
Saajan'
is
a
80
seconds
piece
the
song
for
the
climax
where
a
father
is
getting
ready
for
his
daughter's
'vidaai'.
Sung
by
Suresh
Waadkar
and
Aparnaa
Bhaagwat
(who
lends
her
vocals
for
a
kid),
this
is
a
little
different
from
other
'vidai'
songs
since
it
doesn't
take
a
weepy
approach
and
is
instead
sung
with
a
smile
on
the
face.
On
the
similar
tune
comes
'Raadhey
Krishn
Ki
Jyoti'
which
is
a
2
minutes
'bhajan'
that
wraps
up
the
album.
When
the
album
began,
one
lend
an
extra
hearing
or
two
to
the
album
since
it
comes
from
a
reputed
production
house
that
has
seldom
gone
wrong
on
the
music
front.
That's
the
reason
why
the
first
2-3
songs
could
at
least
grow
on
you
after
repeated
listening.
But
the
patience
runs
out
towards
the
middle
of
the
album
when
one
starts
wondering
if
Sooraj
Barjatya
was
actually
focusing
on
the
commercial
aspects
at
all
since
90%
of
the
music
is
purely
situational
and
that
too
with
not
much
commercial
ingredients
attached
to
it.
In
the
end,
what
one
gets
to
hear
is
an
average
soundtrack
that
doesn't
really
make
you
jump
with
joy
and
get
the
CD
on
a
repeat
mode.
Just
about
ordinary.