I have been fence sitter when it comes to the song or no song debate, I jump sides often (ya it’s me) . My reasons for this are grounded in the hours and hours of political news coverage by national and regional channels. “Issue based support” being the correct phrase, if you please.
I do not know if anything else from Wazir deserves writing about, ok that was quite rude.
You can’t get always what you want, so my dream of ‘seeing’ the songs ONLY along with the film is more than always killed. Technically the songs should ONLY work in the boundaries of the film, yeah the song might be great, composed with a mind that has been aided by the hands of the divine or verses that have been taken right from the surface of a calm lake.
All that is ok, but what is the song doing in the movie, yaar?
Wazir has this genius level intro song, there is no prelude to this introduction(prelude to the introduction a? ennada solre), you have no idea who the characters are and there is no associated speak or visual cues for us to identify with; in other words Bejoy Nambiar was on a ‘wing and a prayer’ (we like to use phrases, kid writers we be) when he begins his film on loss of kids masquerading as a thriller with the absolutely wonderful ‘Tere Bin’
Shot in enjoyable slow motion, which although seems forced at the very beginning comes to its own being towards the end of the song; ever since I heard the song I had wanted to see it and ever since I have seen it, I can now never forget it. Which is success in a way.
But I’ll tell you what real success is, these flash backs are one irksome lot in movies, but the thing is most dramatic films can’t do without them, they lend character to the characters, essentially these are parcels of emotions which make us realize the motivations and why a certain character is behaving in a certain way at present. And this takes up a lot of screen time and when done badly makes you wish you were never born.
In 3 minutes Wazir establishes what most movies take a good part of the ‘first quarter of the post interval’ phase (hehe not that technically, buddy), there are no scenes as to how Daanish (Farhan Akhtar, a disoriented ATS officer) and Ruhana (a very oriented Kathak-ist? played by Aditi Rao Hydari) meet, there are no scenes of their courtship period (this being a Delhi film would have been shot in Humayun’s Tomb etc),there are no scenes to show each doting on the other, how their firstborn was cherished like little Simba and how love was so much part of their family like most Bollywood families tend to be; but all this is there in the song ya. ( director laughs like Blofeld who has plans to take over the world but doesn’t know Bond is lurking somewhere in the shadows)
And all this is very necessary for the audience to feel the weight of child loss when the kid is killed a few minutes later in a rather umm ‘This-is-not-supposed-to-happen-now’ moment (OK I spoiled that for you), so now you see that this is a genius move to open with a song that adds something to your movie and more importantly, doesn’t eat up time. Do not know if it will work every time, but here it did!
While Shreya Ghoshal and Sonu Nigam take you through the lives of the protagonist and family, couldn’t help wondering if these moments are like those carefully selected photos that are seen on facebook, highlighting the happy moments, even more stressing to the general populace that happiness is abound. ALWAYS.
But is it?
That’s for another post. but if only Wazir had been quite as amazing as the song and used judiciously the time created by this number.