By:
Joginder
Tuteja,
IndiaFM
Thursday,
June
07,
2007
In
the
times
when
most
films
are
set
either
as
feel
good
entertainers
or
revolve
around
slice-of-life
dramas,
choreographer
turned
director
Ganesh
Acharya
has
decided
to
make
a
move
against
the
tide
and
make
Swami.
A
film
that
seems
to
be
breaching
upon
art
house
cinema,
Swami
is
quite
a
shift
for
Ganesh
who
has
been
known
for
his
jhatka
dance
moves
for
over
two
decades.
Roping
in
Manoj
Bajpai
and
Juhi
Chawla
in
principal
roles,
Ganesh
has
sent
the
message
loud
and
clear
that
his
film
is
performance
oriented
more
than
anything
else.
One
hear
at
the
music
and
the
fact
is
further
established
as
composer
duo
of
Nitin
Arora
and
Sony
Chandy
along
with
lyricist
Sameer
too
have
concentrated
on
class
rather
than
delivering
a
massy
score.
There
are
as
many
as
14
tracks
in
Swami
but
still
the
entire
duration
of
the
album
is
just
around
30
minutes.
Reason?
Most
of
the
tracks
are
used
for
background
score
purpose
and
last
for
just
about
a
couple
of
minutes.
Shubharambh
is
an
extremely
soothing
beginning
to
Swami
and
makes
you
glued
to
the
music
system
at
the
very
beginning
of
the
album
as
the
track
lasts
for
a
couple
of
minutes.
Boasting
of
western
classical
arrangements,
the
theme
piece
has
piano
towering
over
other
instruments
and
creates
a
classy
environment.
First
song
to
come
in
the
album
is
the
title
song
Swami
that
takes
a
cool
beginning
with
the
sound
of
an
electronic
flute.
Soon
K
S
Chitra
arrives
on
the
scene
as
she
sings
in
South
Indian
classical
mode
as
an
elaborate
orchestra
comes
into
picture
to
make
way
for
Hariharan
to
take
the
center
stage.
A
slow
moving
track
with
a
classical
base
to
it,
this
duet
between
a
husband
and
a
wife
is
about
living
a
content
life
with
whatever
resources
being
available
and
still
be
happy
about
the
sheer
pleasure
of
being
together.
The
longest
track
of
the
album
(around
5
minutes),
it
would
be
mainly
picked
by
those
who
are
fond
of
classical
music
based
songs
from
South
India.
There
is
a
heavy
A.R.
Rahman
influence
in
the
way
Naa
Tin
Dhinna
(Child
Of
Joy)
begins.
After
the
stage
has
been
set
with
an
assortment
of
instruments
having
come
together
to
create
a
classical
mood
with
a
foot
tapping
effect,
both
Hariharan
and
Chitra
croon
the
words
Naa
Tin
Dhinna
for
close
to
3
minutes
before
a
group
of
children
come
on
the
scene
towards
the
end
to
make
one
find
the
Rahman
effect
again.
Built
up
of
orchestra
at
the
beginning
of
Mumbai
Jaayenge
(Dream)
hooks
you
on
before
one
hears
Manoj
Bajpai
uttering
his
apprehensions
about
leaving
the
house
and
moving
with
his
family
to
Mumbai.
These
are
the
only
few
words
which
are
heard
in
this
musical
piece
which
comes
with
a
sound
of
flute
that
remains
even
after
the
track
is
through.
The
way
Gullak
(Treasure)
begins
on
a
dark
note,
one
can
make
out
that
it
is
for
a
sad
situation
in
the
film.
45
seconds
into
the
instrumental
and
an
elaborate
orchestra
is
on
work
again
as
a
male
chorus
too
arrives
on
the
scene
to
create
a
haunting
impact.
Things
settle
down
in
a
matter
of
few
seconds
and
mood
turns
pensive
once
again
to
take
the
track
to
its
closure.
The
feeling
of
sadness
continues
with
Aa
Ri
Ra
Ru
(Sorry)
which
moves
on
in
a
routine
manner
before
Juhi
Chawla
utters
a
couple
of
dialogues
from
the
film.
Chitra
s
voice
is
heard
at
the
very
end
as
she
croons
Aa
Ri
Ra
Ru
with
the
sound
of
piano
concluding
the
track.
Those
who
have
watched
the
promos
of
the
film
would
not
have
missed
out
one
of
the
short
teasers
that
focuses
on
a
chair.
A
theme
track
around
this
chair,
aptly
titled
Kursi
(Chair)
is
also
present
in
the
album
and
is
an
easy
on
ears
80
seconds
piece.