Jaan-e-man-Movie Review

By Taran Adarsh, October 20, 2006

Let's clear a myth before we get into the analyzing mode.
JAAN-E-MANN is about two guys loving the same girl. Her first relationship doesn't work for certain reasons. Opportunity comes knocking again. The second guy rides into her heart. Sounds familiar?
From SANGAM to KABHI KABHIE to CHANDNI to SAAJAN, the concept of two men falling head over heals in love with the same woman has been done to death in Bollywood. Is there anything else left to explore? What novelty does JAAN-E-MANN offer then? Is it old wine packaged in a new bottle?

Sure, JAAN-E-MANN is a love story. But it explores new grounds, in terms of story as well as execution. It's an unconventional film. Yet, innovative at the same time. It doesn't follow the path most love stories charter. It's a fresh concept and the twists and turns in the screenplay only ensure that it doesn't stagnate.

To be brutally honest, it takes time to absorb a new format of storytelling. As moviegoers, we are used to following one particular format, which rarely changes. In JAAN-E-MANN, the story begins where most end. At the very outset, you're told that the first relationship has already fallen apart. Knowing that it's over between the two, the first guy encourages [and actually assists/trains/spoon-feeds] the second guy to get close to the woman both love. The second guy faithfully follows the instructions, till a twist in the tale brings about an awakening. Just when you think that it's going to be a conventional climax, there's a twist again.

Nope, JAAN-E-MANN isn't purani bottle par naya label. Definitely not!
It's said that [most] editors make fantastic directors. After all, the biggest of dreams take final shape on the editing table. Editor Shirish Kunder wears many hats in his first attempt: Director, story-screenplay-dialogues' writer, background music composer, TV and theatrical promo maker and of course, editor. And yes, he makes a terrific impact in his maiden attempt as a storyteller.

The marriage of realism with escapism as also form and content is evident in JAAN-E-MANN. There are moments that offer tremendous entertainment. There are times when Shirish borrows incidents straight from life; you've seen it happening to someone or perhaps, it's happened to you.

All the same, the execution of the film and the shot compositions are masterly. If you understand cinema or if you're an avid moviegoer, you'd notice that JAAN-E-MANN is shades apart from Yash Chopra or Mani Ratnam or Priyadarshan or RGV or Rakesh Roshan's movies. It stands out for its individuality. The technique leaves you wondering, is this Hindi cinema or are you watching a fairytale?

Most importantly, JAAN-E-MANN has its heart in the right place. Like this reviewer pointed out at the outset, it takes time to get used to Shirish's style of narrating a story. The initial reels may give you the feeling that it's all gloss, no soul and perhaps, the director has lost his marbles and experimented at the expense of an uncompromising producer [Sajid Nadiadwala], but JAAN-E-MANN catches you slowly, but firmly and doesn't leave you till the end.

Wait, this doesn't imply that JAAN-E-MANN is a flawless product. There are blemishes that stand out in the narrative. If Shirish deserves distinction marks as a storyteller, you need to deduct his points as an editor. Perhaps, Shirish fell in love with his product and didn't realize that this 19 reeler tends to get lengthy and at times, slow paced.

Also, Shirish's style of storytelling -- very novel and refreshingly different -- caters more to the multiplex crowd/elite/big city junta/Overseas audience rather than the aam public/hoi polloi/masses/frontbenchers. The generous usage of English will also restrict its appeal to urban centres. Yes, there are mass appealing moments, but JAAN-E-MANN is a big gamble. The first section of moviegoers would love the film and if it catches on with the masses [thanks to the strong emotional quotient in the second hour], there's no stopping the film then.

Now to the story:
JAAN-E-MANN begins with Suhan [Salman Khan] receiving a notice to pay the alimony. He has to shell out Rs. 50 lacs to his estranged wife Piya [Preity Zinta], now settled in the U.S. Suhan's 'Chachu' Boney [Anupam Kher], a lawyer, thinks of ways to wriggle out of the situation.
It's at this juncture that Champu aka Agastya [Akshay Kumar] walks in, looking for Piya. He was in love with her during the college days, he tells Suhan and Chachu, but she was in love with someone else [Agastya is unaware that Suhan is the guy]. Piya had ignored Agastya then, a nerd, and even broke his heart by courting another guy. A heartbroken Agastya had left the college for this reason.

Back to the present: Agastya is now at NASA. His outwardly appearance may've undergone a change, but he still doesn't know how to communicate with a girl, forget dating her. Suhan and Chachu hatch the plan to get Agastya and Piya together, so that Suhan is out of the mess.

Agastya flies to New York, so does Suhan. They hire an apartment right opposite Piya's residence and monitor each and every move of her through binoculars and telescope. Suhan helps Agastya to woo Piya. A reluctant Piya eventually gives in. But the story changes when Suhan gets to know of a certain reality and that changes his life completely. He feels responsible towards Piya.

Suhan realizes his folly and wants to make amends. But oblivious to Suhan's presence, Piya is now preparing for a life with Agastya. One wouldn't like to reveal the climax, since that would take the sheen away from the enterprise. We wouldn't be able to reveal the finale either, which is sure to bring a smile on your face.

JAAN-E-MANN balances humor and emotions beautifully. In fact, a film on relationships ought to rest on a solid emotional ground and JAAN-E-MANN has those scenes in abundance, especially in the second hour. Salman's journey from a mere spectator of Akshay-Preity's courtship to being a part of the love story is beautifully depicted. What prompts Salman to have a change of heart and feel more responsible [the reason is withheld by the reviewer] is again a brilliant stroke from the writing, execution and performance point of view.

All the same, the humor is just perfect. It's not the crass or mindless kind, but simple and at the same time, sure to bring a smile on your face or force you to break into laughter.

JAAN-E-MANN has more aces, starting with Farah Khan's choreography. Every song in immaculately choreographed and comes across as a remarkable piece of art. Anu Malik's music is soothing and soft, in sync with the mood of the film. 'Jaane Ke Jaane Na' is undoubtedly the best track of the enterprise. 'Ajnabee Shaher' and 'Humko Maloom Hai' are two compositions that also stand out for sheer melody. Sudeep Chatterjee's cinematography is remarkable. Right from Sabu Cyril's delightfully colorful sets to the skyline of New York, the D.O.P. captures every moment with dexterity and flourish on celluloid. Surily Goel's costumes are classy and well-synchronized with the upmarket feel.

Now to the performances! The one question that you want to ask Salman is, why had you hidden the sensitive performer in you all these years? Agreed, the actor has delivered fine performances in the past, right from Sooraj Barjatya's films to TERE NAAM to NO ENTRY [aimed at the masses]. But this is an altogether different Salman you see in JAAN-E-MANN. In fact, it wouldn't be erroneous to state that if asked to choose one performance from the three pivotal ones in JAAN-E-MANN, it has to be Salman without doubt. He wins hands down completely. The role is a reflection of what Salman can handle in real life: Loads of attitude, the mischievous dude with a naughty streak and most importantly, a sensitive and soft-hearted man who can weep, if affected. Simply remarkable!

Akshay is first-rate. The actor plays a simpleton, a far cry from the roles he's now famous for [DEEWANE HUYE PAAGAL, GARAM MASALA, PHIR HERA PHERI] and proves his versatility yet again. There's a marked growth in Akshay's performances and the one in JAAN-E-MANN only endorses the statement.

Preity is wonderful. Not only does she look like a woman who is the cynosure of two men, but also emotes her part with amazing grace. There's a surprise in store in the end and Preity's fans are sure to love her in that look as well.

Anupam Kher is fantastic as Chachu, but has an ill-defined role as the look-alike in New York. Jawed Sheikh and Soni Razdan [Preity's parents] are appropriate in brief roles. Nawaab [Preity's brother] and Aman Verma are decent.

On the whole, JAAN-E-MANN balances humor and emotions beautifully. In fact, it's a BIG film in all respects -- right from its cast to the extravagant sets to the lavish making, besides, of course, unadulterated entertainment it has to offer. At the box-office, the Diwali and Idd holidays will prove bountiful for the film and add to the big returns. Business-wise, JAAN-E-MANN should fare best at multiplexes and also at major centres, besides Overseas. But its business at comparatively smaller centres, where masala films dominate, is bound to be affected by DON's presence. However, if the strong word of mouth catches on, the business at smaller centres will add to its booty.

Jaan-E-Mann Wallpaper & Poster

 

Jaan-e-Mann Theatrical Trailer

Jaan-e-Mann Music Review-II

Anu Malik is back. And he is back in style. Zindaggi Rocks may not have matched the highest of standards, but in Shirish Kunder’s Jaaneman, Malik delivers the punches in style. At the outset I would say he must thank his team of music arrangers for doing a brilliant job of weaving his deliciously outstanding melodies. Humko Maloom Hai, Jaane Ke Jaane Na, Ajnabi Sheher, Sau Dard and Udh Jaana…Bro! are fantastic numbers. Kubool Kar Le disappoints and the other let downs are the average remixes by DJ Shane. On the whole Jaaneman is not only an album worth a buy, it’s also a collector’s item. And one thing that makes me say that is the delightfully consistent-n-progressive lyrics by Gulzar. His usage of English words with simple Hindi is mind-boggling to say the least. Another reason to go for Jaaneman album is the super talent of Sonu Nigam who unleashes his myriad range in a vociferous manner.

Hamko Maloom Hai…Ishq Masoom Hai…Dil Se Ho Jaati Hai Ghaltiyan…Sabr Se Ishq Mahroom Hai…Only Gulzar could have penned such beautiful thoughts in such a simple manner. It goes without saying that it’s a fantastic composition reeking of carnival-celebratory-notes with a touch of poignant melancholy. To add to it, you also get to hear Salman Khan reciting a verse in his expressive voice. Flood lit Orchestration, stoking the heart beat rhythm designing and the thousand-lamps-lit-on-a-calm-night vocals of Sonu Nigam treading the high-n-lows with passionate zeal makes Hamko Maloom Hai a pleasure all the way. It’s great to hear a talented singer in Sadhna Sargam make a come back with this fine number. Gulzar experiments with the lyrics by incorporating day-to-day English words in a song that is composed in a stream-of-consciousness mould with thoughts flowing unobtrusively. There’s one more version of the same number. No, it’s not a remix. It is more or less the same with a few add-on lyrics for a different situation.

Jaane Ke Jaane Na is undoubtedly the best track of the album. A song that’s going to enthrall millions (It’s already looking great in the promos on TV with Anupam Kher in an unusual dwarf act). Sonu tries to ape Anu Malik’s singing style. Must say the results are really cute. He is having fun while the tabla, guitar arpeggio, live whistle, and rambunctious rhythm progression make you have a rocking time. Lots of situational sounds, Krishna’s classical alaap and Sukhwinder Singh’s rustic feel are a treat in its own way. The club mix by DJ Shane is not really enterprising. Adding a fast beat to such a number doesn’t really makes much sense. I think a good song has been wasted by remixing in such a tasteless manner.

Ajnabi Sheher Hai…Ajnabi Shaam Hai….Zindagi Ajnabi…Kya Tera Naam Hai…It’s Sonu Nigam all the way once again. This guy is in great nick. His sheer range is incomparable. After listening to this song, I can easily say that undoubtedly he is the best singer in Bollywood with no comparisons. Great Orchestration (Anu Malik must thanks his team of music arrangers) is the USP of this number. The laidback guitar strumming has a distinct nubile flavour as it flows like a river of romance. The chimes strike past as if a pebble that accentuates its placid beauty. A whiff of flute whispers in your ears the sweet nothings. The rhythm progression doesn’t follow a set pattern. Instead, it has its own troughs-n-curves. Gulzar’s lyrics are the icing on the cake. A truly gem of a Composition. Well Done Mr Malik.

A flute-n-piano melody of the first song Humko Maloom Hai makes an auspicious beginning. Sau Dard Hain….Sau Rahaten…Sab Mila Dilnashin…Ek Tu Hi Nahin…Once again Gulzar pens a hook line that is very simple, yet makes you think instantly. And yet again Sonu Nigam completely surprises with his sheer range-n-intensity. It seems Sonu is singing as if he wants to prove something to someone. His sugar-honey voice takes this exceedingly beautiful composition to an altogether different level. It’s a soft, romantic song with delicious flute chops cushioning Sonu’s feel-good voice. The String arrangements, backing vocals by Suzanne and protruding bass line accentuates the delirious heights. Sau Dard is a feast for those who have an exquisite musical taste and for those who savour the intensity-n-turbulence of romance. I think that will cover each and everyone. Enjoy! The Groove Mix of Sau Dard by DJ Shane is once again a let down. The irritating brass fillers that cause discomfiture in listening from the word go spoils a decent groove. Honestly, a fabulous number is wasted by remixing in such an amateurish manner.

Get Set To Rock With Superstars….Udh Jaana…Bro is a high energy number with crafty music arrangements. And my my…Welcome Adnan Sami…Hey dude…Where’ve you been! Great to have you back. It’s time to party or is it magic on a stage with thousands of eyes fixed on an extravaganza. This song is a jugalbandi of several genres like Rock, Jazz and East meets West sounds. So, gear up for stylish Bass licks, flute on a rampage, electric guitar riffs, loud chorus (It gets a bit out of control at times) and a rocking rhythm that gains the tempo at the crescendo. All the singers, be it Kunal Ganjawala, Sunidhi Chauhan, Earl or Adnan Sami, everyone sing their part well. It’s a give-a-kick-to-ur-adrenaline number that may be the toast on many an Award Functions next year. The Club Mix of Udh Jaana by DJ Shane is better than his other offerings in this album. His brass filler fixation continues here as well, though it’s diluted than the other two versions. You can shake a leg on this one.

Kubool Kar Le is once again a party number sung by an ensemble musical star cast of Udit Narayan, Suzanne, Indian Idol stars Rahul Vaidya, Amit Sana, Prajakta Shukre and Monali Thakur. This song is a bit too much of sound and fury and confusion. Too many voices, Bhangra, Pop and a bit of everything. I guess Anu Malik has tried to do too many things all at the same time. Udit Narayan is the best thing about this cacophony of a song. Kubool Kar Le disappoints after a brilliant round of songs.
Jaaneman: But-It-Today!
Star Rating: ***1/2

Jaan-e-Mann Music Review By Joginder Tuteja, September 6, 2006 - 12:15 IST
Since the day 'Jaan-E-Mann' was launched, the film has been in news across all media forums. With enterprising producer Sajid Nadiadwala at the helm, a solid trio of Salman Khan, Akshay Kumar and Preity Zinta forming a formidable starcast, grapevine about the generation leap in the film, Anupam Kher's dwarf act to editor turned director Shirish Kunder's directorial debut – everything about the film was always in limelight.

Except for one thing! ANU MALIK, the film's composer!

Why? That's something that you realize after you hear the album. This is because in true sense this is THE comeback that Anu's fans would have been expecting from him who has been having a rather dull period at the music charts. He was seen on the small screen with 'Indian Idol' but didn't have much to show himself when it came to his work. With 'Jaan-E-Mann' he just hits back at his detractors who had proclaimed his time in the Bollywood musical scene to be over. Because with 'Jaan-E-Mann' he creates a kind of music that truly befits the musical genre of the film. With a unique pairing with Gulzar saab to boost, fireworks were obviously expected from the film but it's a different feeling altogether when one really lends an ear to the album.

Aamir Khan did it in 'Fanaa', Akshaye Khanna followed it up in 'Aap Ki Khatir' while Shahrukh Khan has made waves with 'Don – The Chase Begins Again', i.e. by lending their voices for a song. Now Salman Khan does it too for the opening song of the album 'Humko Maloom Hai' where he doesn't sing but narrates a couple of lines that go as:

"Mohabbaton mein jeene wale khushnaseeb hain, mohabbaton mein marne waale bhi ajeeb hain;
Azeem hai hamari dastaan jaan-e-mann, faaslon mein rehte hain lekin kareeb hain"

The melody that follows is unique as Sonu Nigam starts singing 'Hum Ko Maaloom Hain'. An extremely difficult number to compose and sing, both Anu Malik and Sonu Nigam make it all sound so easy inspite of Gulzar saab coming up with his trademark 'conversational' lyrics rather than a conventional prose. One can hear a variety of instruments in this marvelously orchestrated number that may sound akin to an A.R. Rehman composition but it still completely original. In the end, the song takes a sad turn and even comes close to Ismail Darbar's 'Tadap Tadap'. Grand is the way to describe the arrangements of this song which has Sadhna Sargam finally getting some due. She may be singing only 2-3 big songs in a year but while doing so she makes sure that she leaves a mark. This is what happens in 'Humko Maaloom Hai' that takes its own time to come to your lips but once it does (after you have heard it 10-15 times), there is no looking back!

It's time to have some fun now with the arrival of 'Jaane Ke Jaane Na' where Anu Malik surpasses his own effort after 'Tumse Milke Dil Ka Hai' [Main Hoon Naa]. A qawalli with a feel good factor from the very first note coupled with Bollywood musical feel, 'Jaane Ke Jaane Ne' has Sonu Nigam and Sukhwinder Singh getting into a nice little duet that has an immense bring-on-the-smiles appeal to it. With Farah Khan at the helm of choreography, expect a magical outing once again! Sonu Nigam is exceptional in the qawalli inspite of Sukhwinder's presence while Krishna adds on with his voiceover. Gulzar saab has a knack of surprising every now and then and he does that well again by adding on an English word at some nook or corner. A word about Anu Malik's orchestra - it is GRAND once again! A 'club remix' of the song comes after original versions of all the tracks are over and it turns out to be a true DJ mix with an expected add-on-the-pep effect.

One may go ahead and say that the beginning of 'Ajnabi Shehar' is akin to the signature tune of 'Titanic' but what one needs to remember is that it is mainly the instrument used i.e. flute which is same and hence one could at maximum term it as a healthy inspiration. Sonu Nigam sings his third [and yet another diverse] song that could have been lapped by none else than Late Mohammad Rafi if he was alive today. The best song of the album which brings back the nostalgia of the 60s, it could well have been a song composed for a Shammi Kapoor or a Biswajeet or a Joy Mukherjee!

Anu Malik truly reinvents himself with 'Ajnabi Shehar', a soulful melody which is a new experience altogether in today's music scenario and has a healing appeal to it. Loneliness coupled with introspection has been presented in a unique manner which has sad undertones but still entertains one in a big way. This is the kind of song that one may want to put on in a repeat mode, switch off the lights and go to sleep! Gulzar, Anu Malik and Sonu Nigam excel as a team and come up with a highly classy outcome!

The signature tune of 'Humko Maaloom Hai' marks the beginning of 'Sau Dard' which is yet another brilliant song to arrive after 'Ajnabi Shehar'. And yes, the song again brings composer Anu Malik in a new light altogether as he applies a lot of energy in this second sad song in succession. Sonu Nigam sings fourth superb song in succession and continues to outperform himself in each song. Expect the auditorium to witness a pin drop silence when this poetic number is on.

Anu Malik seems to have worked really hard on the score of Jaan-E-Mann and that shows in 'Sau Dard' which is unlike anything that he has composed in the past. A beautiful song to hear from all quarters, be it rendition wise, lyrically or musically. Especially watch out for Suzanne's voice being used to create a chorus effect a la an opera which consolidates on the grandeur look and feel of the film. Watch out for the 'Grove Mix' of 'Sau Dard' that comes after a while and unlike most remixes floating on the music stands, this one actually 'stands' out for itself and gives the track a different dimension by actually creating a groovy feel!

SUPERSTAR – now that's a term that you would have observed in the promos of 'Jaan-E-Mann' that are currently on air [remember the glittery sets with SUPERSTAR written all over?]! For this stage number 'Udh Jaana....Bro', Kunal Ganjawala begins the show with Sunidhi Chauhan and Adnan Sami joining him soon. A rhythmic song that has it's opening strings coming close to the tune of guitar as in 'Aisa Pehli Baar Hua' [Har Dil Jo Pyaar Karega], it has that concert feel to it that is so very needed to give it an authentic appeal. Yes, compared to the songs in the past which were absolutely new tunes, this one lags a little behind. Still one may not want to take away the euphoric feel that the song may end up creating once the choreographed version is out on the big screen! As expected the 'Club Mix' of the song comes as well that doesn't sound much different from the original which itself is high on rhythm, arrangements and a high adrenaline outcome.

When Anu Malik had presided over 'Indian Idol', he had promised some of its participants that one day he would be giving them a break. He fulfills the promise by roping in Rahul Vaidya, Amit Sana and Prajakta Shukre to sing for 'Kubool Kar Le', the beginning of which is a direct take off from lesser heard 'Sanam Tum Hampe Marte Ho' ['Wajood'] that was composed by Malik himself and featured Madhuri Dixit and Mukul Dev. Well, leaving this one bit of reuse aside, the song has been given a fresh treatment throughout. A song about a man trying to woo a girl and a group of friends motivating her to say yes, it mainly takes a pep-n-rhythm route with Udit Narayan taking the lead. A situational track with Monali Thakur and Suzanne joining the singers as well, it is just like 'Udh Jaana' i.e. being good till it lasts and promising good visuals on screen.

'Jaan-E-Mann' starts off on a brilliant note and the first four tracks [along with the remix versions of 2 of them] raise the bar so high that one starts expecting a moon from an entire album. 'Udh Jaana' and 'Kubool Kar Le' are fine too but given a choice one may just want to play on 'Hum Ko Maaloom Hain', 'Jaane Ke Jaane Na, 'Ajnabi Shehar' and 'Sau Dard' and relish the melody. Anu Malik creates a music that should silence all his detractors while Gulzar saab must be happy this his lyrics are presented in a new light for a hardcore commercial film like 'Jaan-E-Mann'.

'Jaan-E-Mann' adds on to the list of must-buy albums this season and makes it a double treat for music lovers in a matter of 10 days who are having a gala time with 'Don' making a splash too! Sajid Nadiadwala has a winning score in hand that should take a flying start in the A centers and gradually start making a mark in the interiors as well!

Jaan-e-Mann Music Review

'Jaane-E-Mann', the heart throbbing love saga, is one of Bollywood biggies to hit theatres in this year's festive season. It has many big attractions and names to attract movie buffs with breathtaking visuals and mind-blowing choreography. The film is sketched out as a love triangle shot exclusively in Hollywood's Broadway musical style in trendy New York City. Film editor- turned-director Shirish Kunder takes a big leap in his career with 'Jaan-E-Mann'. The film has acting talents of dependable actors like Akshay Kumar, Salman Khan, Preity Zinta and Anupam Kher in the lead roles. Anupam Kher comes as a surprise package by enacting role of a dwarf "Vakil Chachu", sharing on-screen chemistry with Salman Khan. Farah Khan (wife of Shirish Kunder), an eminent Bollywood choreographer, has conceived eye-catching choreography in the film with aesthetically crafted art direction by Sabu Cyril. 'Jaan-E-Mann' promises musical extravaganza like Oscar nominated Hollywood musical 'Moulin Rouge' with a fine blend of trendy music mushroomed in immaculately choreographed soundtracks. Anu Malik tries to strike chord with film's soulfully romantic theme with his improvised musical prowess and skills. The film composer has been in news for another musically oriented film album 'Zindaggi Rocks'. Unfortunately, it has proved mediocre and all hopes are pinned on the musical success of 'Jaan-E-Mann'. Noted poet and lyricist Gulzar makes strong impact with brilliant poetic verses in soulful ballads. Sajid Nadaiadwala's 'Jaan-E-Mann' has ten original soundtracks that can be heard on T-Series.

HUMKO MALOOM HAI: Remember Rishi Kapoor's introductory emotional outburst in "Ek Hasina Thi" (Subhash Ghai's 'Karz')! This time Salman Khan holds mike and delivers Gulzar's written poetry "Mohabbatein mein jeene wale khushnaseeb hain... faslon mein rahte hain lekin kareeb hain" in soft and somber mood. "Humko Maloom Hai" is highly publicized number that has been conceived as playful and sentimental bon voyage of lovers. Sonu Nigam delivers one of his finest performances of this year with Sadhna Sargam coordinating it. Gulzar's lyrical work is a fine amalgamation of poetic Urdu work and urbanized stylized lingo and one-liners. The veteran lyricist tries his best to recreate the magic of "Kajra Re" with urban touch. The song narrates the make and break of love relationship between lovers through heartfelt emotions. It starts off well with traditional poetry followed by Salsa music giving it a trendy ambience. Then it has collections of "bhelpuri" lines like "Dad Naaraz the", "Mera Future Hai teri Kasam, Mera Future Hai Isme Sanam" that may sound quizzical to listeners. Anu Malik uses his best musical strength in matching the "tonality" of the situation with optimum usage of synchronized orchestration. It has the signature tune of the film that seems to be inspirational lift from "Titanic" theme music. The soundtrack has European opera style fictional element where lovers meet and separate dramatically. It would be interesting to watch the high points of this number - Farah Khan's swirling Salsa dancing steps and glossy cinematography featuring the colorful and gleaming beauty of hi-profile sets. It would have been better if Farah Khan would have saved this number for next directorial venture 'Om Shanti Om' (proposed remake of Subhash Ghai's 'Karz').

JAANE KE JAANE NA: Fun-loving pranks galore in comical style and lingo as Sonu Nigam, Sukhwinder Singh and Krishna speed up proceedings in "Jaane Ke Jaane Na". The number will be an eye-feasting rather than listening pleasure with Anupam Kher (playing dwarf), Salman Khan and Akshay Kumar dancing to frolicking funky and "qawalli" beats. Anu Malik delivers it in pop-qawwali style of "Tumse Milke Dil Ka" ('Main Hoon Na') with loud and boisterous musical set up. It reminds of "Woh Jo Bana Apna" (Kamalhasan's 'Appu Raja') where dwarfs dance eclectically to the crowd's delight. Anupam Kher's hilariously dwarf act will draw adulation as he dances throughout the song with bunch of circus dwarfs. Sonu Nigam vociferously modulates his voice to the occasion with Sukhwinder joining the company with delight. Krishna's loud and elongated "alaap" gives an introductory lead to the track. Overall, the song sounds more like parody of events with fun-loving romantic one-liners. Gulzar's lyrics create burlesque of comical camaraderie that sets the tempo of the number. Anu Malik's fusion music gives it a festive outlook and makes it a visual spectacle than a listening delight.

DJ Shane pumps the dancing floors with echoing and beat-matching techniques in the soundtrack "Jaane Ke Jaane Na (club mix by DJ Shane)". The original soundtrack sounds more pleasing than the remix number.

AJNABI SHEHAR: The ambience of westernized soulful sentimental ballad prevails as mellifluously rendered flute emotes out the signature as prelude to the soundtrack - "Ajnabi Shehar". Sonu Nigam's melodiously sauntering vocals unravel through the scintillating beauty of beautiful town ("shehar") to the mysticism of eternal beauty of beloved. This time Sonu's voice brings nostalgic memories of Mohd Rafi in the latter's 60's style choreographed on Shammi Kapoor, Joy Mukherjee, Biswajeet in films like 'Junglee', 'Ek Musafir Ek Haseena' etc. Gulzar's lyrical works score the brightest poetical quotient and make it a listening delight for perfect romantic evening. Anu Malik's inspirational "Titanic" theme music is molded with perfection with dash of Spanish Salsa music to give it romantic touch. Anu has fine controls over percussions and collages it well with poetically rendered lyrics. Gulzar's poetry speaks volumes for the lover's love interest in lines like "Aapke Bagar Bhi hamein Mithi Lagein Udassiyan, Kya Yeh Aapka Kamal Hai…." to dreamy romantic endeavors in lines like "Baat Hai Ek Raat Hai Aaap Badalon Pe Leta Thein…." Once again this gives out opera styled entertainment with echoing and modulating vocals matched beautifully with impressive poetic lyrics and resonating music. The soulful ballad will positively bring back Anu Malik to limelight and for this he should be thankful to Sonu Nigam's harmonious voice and Gulzar's immaculately refined poetic works. It brings backs memories of Anu Malik's finest works like "Yaadein Yaad Aati Hai" ('Yaadein'), "Badalon Mein Chhupa Hai Chand" ('Phir Teri Kahani Yaad Aayi') and "Chori Chori Jab Nazreen Mili" ('Kareeb'). SHEER DELIGHT!!!

SAU DARD: The titillating musical signature tune of "Humko Maloom Hai" makes sad and emotional sparks to the soundtrack "Sau Dard". It has been conceived on the thematically inclined guidelines of popular tracks like "Hum Dil De Chuke Hain Sanam" and "Tadap Tadap Ke" ('Hum Dil De Chuke Hain Sanam') where lover exasperates, infuriates and remorses for his lost love. Sonu Nigam scores pure gold with this track by emoting out this heart-piercing musical work that has been embellished with delightful poetry. Suzanne's brief feminine rendition adds sensuality to the number. Gulzar's age old mastery in delivering poetical mysticism showers praise, success and delight to his fans. It has soulful sentimental lines like "Sau Dard Hai, Sau Raatein, Sab Mila Dilnashin Ek Tu Hi Nahin…" and carries the emotional voyage with lines like "Bahta Hai Paani Hai Behne De, Waqt Ko Yun Hi Rahne De, Dariya Ne Karwat Li Hai To, Saahilon Ko Sehne De…" It's twice in a row where poetic magnetism has combined brilliantly musical prowess of vocal genius and harmonious composer. Anu Malik l shows his brighter side and proves his worth as reliable musical composer after series of mediocre albums and numbers.

"Sau Dard (Groove mix)" comes as relaxing mood swinging number where the serenity of the number is maintained with gentle beats and rhythms. Despite the fact that this remix work is done on soft sentimental, yet it is worth delightful evenings and parties.

UDH JAANA…BRO: What is BRO? It's an American slang for "Brother"! So this time Bollywood musical fraternity discovers new slang for funky tracks and makes best of it in soundtrack "Udh Jaana…Bro". Hip-hop and rock music galore all the way with a concert feel number where singers flaunt their talents. It may sound out of sync to hear Adnan Sami's indifferent voice with dominating vocals of Kunal Ganjawala and Sunidhi Chauhan ruling the show. It sounds more like "boogie-woogie" number where singers or performers tussle for their supremacy. Anu Malik falters completely in delivering innovative funky beats as he rehashes his old tunes of numbers like "Aisa Pehli Baar Hua Hai" and "Ek Garam Chai Ki" ('Har Dil Jo Pyar Karega'). The elongated "jugalbandi" might sound praise worthy on screen but lacks the fire and zest to stir up pop genre. Even the choice of singers seems to be going against the prospects of the number. Adnan Sami's lackluster voice hardly makes any impact and Kunal Ganjawala proves unworthy for such racy numbers. Shaan and KK could have been better choices and their upbeat and groovy voices could have graced the occasion well. Besides , the number sounds too noisy, jarring with dampening vocals and harshening music. Anu faltered with high-pitched in 'Zindaggi Rocks' and the failure continue with "Udh Jaana…Bro". Farah Khan's choreography can finally dictate the final outcome for this number but Anu Malik's music disappoints completely.

Rollicking club disco beats make splashing impact and give it a trendy look for dance floors in "Udh Jaana…Bro (club mix)". The tempo of the number is accelerated but still it fails to create any impact.

KUBOOL KAR LE: Indian Idol winners and participants finally get a platform where they can perform together in one soundtrack and it comes in the form of "Kubool Kar Le". Amit Sana, Prajakta Shukre, Rahul Vaidya, Monali Thakur along with Udit Narayan and Suzanne, create an aura of festive delight in a celebration song. It's situational number where bunch of friends offer proposal to girl's fiancé for marriage. It's traditional Bollywood number and Anu delivers in his contemporary style. Suzaane's westernized "alaap" with funky beats initiates the number followed by loud chorus. Udit Narayan sounds more prominent whereas the young brigade of singers sounds more like a team of chorus singers.

'Jaanemann' comes out as Anu Malik's finest musical work of the year after mediocre success of 'Pyare Mohan', 'Humko Deewana Kar Gaye' and 'Zindaggi Rocks'. The soulful ballads "Ajnabi Shehar" and "Sau Dard" are priceless gems but the disco number disappoints. It will be one of the big selling albums of the year and will be the first big hit for Anu Malik this year.

GARV Wallpaper & Poster

Garv Movie Review

Rating: 3/5

Puneet Issar sticks to a tried and tested storyline in his directorial debut. At the center of the story are three cops who decide to wage a battle against the underworld and corrupt politicians. As expected, the bad guys get back at them, eliminate one of them and target the family of our hero cop played by Salman Khan. 

And when Salman cracks down on his enemies in his own way by trespassing the line of law, he is becomes the victim of the same law that he was trying to uphold. But the simmering anger in him won't give him any peace of mind until he has put his enemies to rest in peace forever. Clich�d to the core? Yes it is. But boring it is not. 

The only good thing about Garv is that it moves at a very slick pace right from the stylish introduction of Salman in the initial reels. Although the drama builds up in a predictable manner, its pace, supported by commendable performances from actors, keep the viewer interest alive till the interval point when Salman challenges the don and the battle line is drawn.

The beginning of second half breaks the pace of the narrative when the story strays into romantic track between Salman and Shilpa Shetty. The two dream songs of Salman and Shilpa jiving first in Rajasthan and then in Mauritius stand out like oddities. 

Salman Khan deserves credit for playing his role of a conscientious cop Arjun Ranawat with conviction. He has the right walk, the right series of gestures and much improved facial expressions to lend credibility to his character. His verbal encounters with the corrupt politicians are praiseworthy.

Shilpa Shetty has been included in the movie just for the sake of having some romantic interest for hero. Her contribution to the film remains just two songs and few romantic sequences.

In short, Garv is a film aimed at masses. It has the necessary ingredients of a masala film - the battle between good and evil, the evil overcoming the good for short time and the eventual rise of the good one to score an ultimate victory over the bad guys. Apart from this, it has a romantic angle in the sidelines and some punchy inclusion of Sanskrit shlokas to symbolize the triumph of good over evil.

Nothing new, but worth a watch.