Like man buns on scooters and ukulele busking, Covid-19 has now spread to the north from London – inspiring a coronavirus soapcom from our self-isolating comedy-writer

Up here in the north-west, we’re used to living in the slipstream of London’s sleek urban shenanigans. Whatever the cultural breakthrough – man buns on scooters, cashless ukulele busking, emotional support bees – it takes a while to reach the Lancaster and Morecambe Non-Metropolitan Area. If it ever does.

A Street Stranger Watch leads to a death and the appearance at midnight of the street’s original Victorian inhabitants

Radio and TV producer who revitalised The Archers during his tenure as editor

Despite being a soft-spoken Lancastrian of mild-mannered appearance, the writer and producer William Smethurst, who has died aged 71, was known to his detractors in radio and television as “Butcher Bill”. But the ruthless skills combined with mischievous flair that he displayed as editor of The Archers for eight years from 1978 were widely credited with saving Radio 4’s flagging rural soap opera and making it the cult show it later became. Smethurst was the man who licensed writers to scandalise sleepy Ambridge and once persuaded Princess Margaret to make a guest appearance.

He was less successful when Central TV lured him from BBC Pebble Mill in Birmingham to pull off the same trick with Crossroads, its Midlands motel saga, which had run out of steam. Smethurst ditched Tony Hatch’s theme tune, killed off characters (much as he had Dan and Doris Archer), and made the plots (and scenery) more credible and the cast much more glamorous, with the help of the motel swimming pool he installed. Some critics preferred its previous awfulness and the show folded in 1988.

As the former political editor and columnist retires, he considers his career at the paper and the greatest scoop he never wrote

Michael White, the Guardian’s assistant editor, retired last week after almost 45 years at the paper as a reporter, foreign correspondent and columnist. He was political editor from 1990-2006, Washington correspondent (1984-88) and parliamentary sketch writer (1977-84). Here he reflects on his Guardian career.

When did you first know you wanted to be a journalist?
I was never a student journalist but, after failing a few interviews for industry in my final student year, I decided – correctly – that I am by nature an observer, not a doer. I was lucky in my timing: 1966 was a very good time to embark on a career in journalism.

30 June 1972: The much-maligned Alice Cooper band is about to perform at the Empire Pool, Wembley. At the weekend their bandwagon rolled into Pittsburgh and Michael White flew over to hear them

Ladies and Gentleman, I give you a great American success story. If not from log cabin to White House, then at least from modest beginnings in Phoenix, Arizona, whence also sprang Jenny Jerome and Barry Goldwater, to Greenwich, Connecticut, home of some of the Republic’s super-rich. Ladies and gentlemen I give you the Alice Cooper rock band.

There’s no point in pretending it’s a conventional success story, not on the surface anyway. Media penetration in the United States reached what must have been a high point last week with an Alice Cooper item in the Wall Street Journal. Over here there’s a feeling among the cognoscenti that what Billboard has described as “the best theatrical rock ‘n’ roll show since the Stones” needs more than the one previous live airing it got at the Rainbow Theatre last year to make its full impact. Hence Alice’s concert at the Empire Pool, Wembley, this evening.

Related: Alice Cooper: 'Rock music was looking for a villain'

Related: How to access the Guardian and Observer digital archive

Howard Green, who has died aged 91, was my first editor, a journalist of the old school who worked his way up from junior reporter at 15 to the board of Thomson Regional Newspapers (TRN) when it was a force in the British regional press.

In the mid-1960s he was a key player in the plans of his Canadian proprietor, Lord (Roy) Thomson of Fleet, to ring London with new evening papers, located on the emerging motorway network and printed on state-of-the-art web offset presses. With well-run local papers still profitable, the big idea was eventually to print and distribute Fleet Street newspapers away from the clutches of its famously disruptive unions.

John Goodwin, who has died aged 97, was a theatre public relations man whose skills earned him an influence far beyond the Royal Shakespeare Company and the National Theatre, with which he was associated for most of his working life.

He was born in London, where his father, Albert Goodwin, worked for the Inland Revenue; his mother was the musical comedy actor Jessie Lonnen, whose father, EJ Lonnen, had also been a star in burlesque, and Johnny was drawn to the theatre from childhood. After second world war service in the Royal Navy, during which he saw action on a destroyer in the North Atlantic, he first joined what was then still the Shakespeare Memorial theatre in Stratford in 1948.

For more than 20 years Robin Callard, who has died of motor neurone disease aged 73, was professor of immunobiology at University College London, attached to the Institute of Child Health (ICH), clinical partner of Great Ormond Street hospital.

Born and raised in Hamilton, New Zealand, Robin was the eldest child of Eddie Callard, an entrepreneurial Australian photographer, and Vivienne (nee Wilson), who ran a fashion shop. A fourth generation Kiwi, Vivienne was also a descendant of Joseph Priestley, the eighteenth-century radical polymath and scientist widely credited with the discovery of oxygen.

25 April 1985: The new taste is said to be smoother, rounder and bolder, not to mention more harmonious

The hard-nosed men of the New York Stock Exchange yesterday made a snap judgment on the most sensational news in the mighty American soft drinks industry for 99 years. Without even trying the new, sweeter formula Coca-Cola, they backed the initial shock reaction of the amateurs: it tastes more like Pepsi.

By lunchtime yesterday Coca-Cola shares had taken another 1.50 cent pounding on top of the 1.60 they sustained in late trading after the new formula was officially unveiled on Monday, despite the assurances of Coke’s chairman, Mr Roberto Goizueta, that the new taste is smoother, rounder and bolder, not to mention more harmonious. Reporters disagreed.

Related: Milk Coke: another classic from the nation that invented Cheeky Vimto

The Guardian’s former political editor revisits humiliating prime ministerial resignations from Robert Peel to David Cameron

Both Brexit camps claim Sir Robert Peel, the Tory moderniser whose 1846 resignation crisis most resembles May’s. But he had succeeded where she failed. Determined to cut food prices for industrial workers, Peel pushed through repeal of protectionist Corn Laws with opposition help. In retaliation, rightwing enemies defeated his Irish Coercion bill. Peel resisted Queen Victoria’s appeal to stay, but grateful crowds cheered him as he walked to the Commons to resign. He slipped out by a side door, but was spotted and cheered home. Divided Tories lost office for 20 years.

I want to opt for quarterly return but by mistake i opt for monthly returnhow can i rectify this?

The mental and physical stresses caused by fear of layoff have left many workers feeling suicidal

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The number of jobless people in the US rose by more than 20 million in April, something deemed worthy of a mention in the “and in other news” slot on the BBC’s evening TV bulletin.

Sure, it was the 75th anniversary of VE day and there were socially distanced street parties to cover and archive footage of crowds gathered in front of Buckingham Palace to treasure.

Comics Curmudgeon readers! Do you love this blog and yearn for a novel written by its creator? Well, good news: Josh Fruhlinger's The Enthusiast is that novel! It's even about newspaper comic strips, partly. Check it out! Rex Morgan, M.D., 5/10/20 Hey, everyone! Were you worried that Buck was going to be inconvenienced, even briefly, […]

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Mother’s have been an important part of Hindi cinema. Over the years, the portrayal of mothers in Bollywood has been changing. Mothers are given much more importance in cinema than just being a character actor who has to nod to everything the husband or the child says. 

On the occasion of Mother’s Day, here’s looking at some of the most popular on-screen mothers. 

Rakhee 

Her dialogue “Mere Karan Arjun aayenge'' is not something that one will forget anytime soon. She played mother to actors Shah Rukh Khan and Salman Khan in the hit film Karan Arjun. While Rakhee has played varied roles in her illustrious career spanning over 50 years, when it came to being a mother onscreen she has been seen as a woman of principles including in films like Baazigar, Ram Lakhan, Soldier, Khalnayak and others. 

Farida Jalal 

Farida Jalal too has been part of the industry for almost fifty years and continues to impress people with her charm. While the actress has played different kinds of roles, her motherly onscreen figure is the one most remembered by people. From being Shah Rukh Khan’s mother in Duplicate to Kajol’s in Dilwale Dulhania Le Jaayenge, she is the kind of mother who is always ready to make sacrifices for her child. She is also popular for the savage yet emotional grandmother of Jiya from the television series Shararat. 

Kirron Kher

She is often cast as the loud Punjabi mother with a soft heart always caring and worrying about her child. From Dostana, to Hum Tum to Singh is King to Om Shanti Om she was the mother who could also make you laugh with her snarky comments. While she started her career in film in 1983, most of her hit films including Main Hoon Na and Rang De Basanti see her play the role of a mother. 

Reema Lagoo

Best remembered for her role in Tu Tu Main Main, she has largely been seen in Bollywood films playing the emotional mother. She has played mother to most superstars in the late 80s and 90s. She was considered as a "new-age mother" in Hindi cinema. She was low on drama and was not too emotional either, perfectly maintaining the balance between the two. From Hum Saath Saath Hai to Hum Aapke Hai Kaun to Kal Ho Naa Ho, she is the kind of mother you just want to give a hug and say everything will be okay. 

 Jaya Bachchan 

How can an onscreen mother’s list be complete without Jaya Bachchan. She raised the bar for on-screen mothers with her performance in Kabhi Khushi Kabhi Gham. The scene with Shah Rukh Khan’s entry in the film will be remembered for Jaya Bachchan’s sixth sense rather than the superstar’s entry. She then went on to ditch the saree and all the parampara and thali and was seen playing a bold single mother in Kal Ho Naa Ho. 

Ratna Pathak Shah

She will always be remembered dearly as Maya Sarabhai who could accept anything else but being middle class. When it comes to playing a mother in Bollywood, she has never been typecast and has shown variety in her characters. In Jaane Tu Ya Jaane Na she was the protective and progressive mother to Imran Khan’s character who could not tolerate violence or any unjust activities. She once again played mother to Imran Khan in Ek Main Aur Ek Tu. She was a rich- sophisticated woman yet very different from her character Maya Sarabhai. Meanwhile, she played a middle-class mother to Taapsee Pannu in the film Thappad who worried more about “Log Kya Kahenge”. 

Let us know your favourites in the comment section.

Today, May 10, India celebrates Mother’s Day. The Internet is flooded with people sharing their fond memories with their mothers and thanking them for everything they do selflessly. Owing to the lockdown, many are unable to celebrate this day they usually do with several people staying away from their family. All this love is now being outpoured on social media. 

Bollywood celebrities are also taking to social media to share pictures, songs and poems for their dear mothers. Actor Ayushmann Khurrana is debuting a song titled 'Ma', dedicated to all mothers. Sanjay Dutt has penned a poem for late mother Nargis Dutt, while Ananya Panday shared an old video where she is answering who is her most favourite person in the world and she says her mother. Sara Ali Khan shared an unseen picture of her as a newborn baby posing with her mother and grandmother. Other celebrities also wished their mothers in their own ways with heartfelt posts. 

 

View this post on Instagram

 

It’s been 39 years since you left us but I know you’re always by my side. I wish you were here with me, today & everyday. Love you and miss you everyday Mom.

A post shared by Sanjay Dutt (@duttsanjay) on May 3, 2020 at 2:04am PDT

 

View this post on Instagram

 

माँ। #HappyMothersDay

A post shared by Abhishek Bachchan (@bachchan) on May 10, 2020 at 12:12am PDT

 

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Meri Maa ki Maa ????????‍♀️????????????????????‍♀️ Thank you for creating Mommy ????????????????‍????‍???????????????? #HappyMothersDay

A post shared by Sara Ali Khan (@saraalikhan95) on May 9, 2020 at 11:45am PDT

 

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❤️ Love & only love - Happy Mother’s Day Ma ❤️

A post shared by Riddhima Kapoor Sahni (RKS) (@riddhimakapoorsahniofficial) on May 9, 2020 at 10:48pm PDT

 

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This pretty much sums up mother's day and well... every other day with Tim ❤️???? #HappyMothersDay

A post shared by Kareena Kapoor Khan (@kareenakapoorkhan) on May 9, 2020 at 11:16pm PDT

 

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The answer is still the same ???? love u @bhavanapandey ❤️

A post shared by Ananya ???????? (@ananyapanday) on May 9, 2020 at 12:16pm PDT

Words fall short when it comes to describing how much you two mean to me. A mom's job is the hardest in the world and you two have been pros. Thank you for everything.❤️ #HappyMothersDay pic.twitter.com/1B9e3OiwSX

— Madhuri Dixit Nene (@MadhuriDixit) May 10, 2020

Here's something for all the Mothers out there who constantly and selflessly shape our lives and the world. This track has been composed by my dear talented friend @RochakTweets and the lyrics are by my amazing nikka phraa @guggss. #HappyMothersDay pic.twitter.com/ZrVltvIAr2

— Ayushmann Khurrana (@ayushmannk) May 10, 2020

 

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Then & Now! ???? Happyy Mother’s Day Mumma! ???????????? Since you can’t take me piggyback anymore, i just want you to know that your warm cuddles and your smile make my heart equally happy ???????????? I love you! ❤️❤️ @geeta_sanon

A post shared by Kriti (@kritisanon) on May 9, 2020 at 10:57pm PDT

 

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Happy Mothers Day to the strongest woman i know... everyday i find something like you in me, sometimes it freaks me out, but mostly i love it ???? I’ll always be your little doll... love you Maa... ????

A post shared by Sonakshi Sinha (@aslisona) on May 9, 2020 at 11:15pm PDT

 

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Hmmm..... so that’s where I get it from ???? #HappyMothersDay

A post shared by Taapsee Pannu (@taapsee) on May 9, 2020 at 9:42pm PDT

 

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Dodging them till date. Keep them coming Maa. Love you! ❤️

A post shared by Vicky Kaushal (@vickykaushal09) on May 9, 2020 at 5:40pm PDT

 

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Just like every other day❤️❤️❤️so lucky to have you mommyyy #mothersday

A post shared by Tiger Shroff (@tigerjackieshroff) on May 9, 2020 at 10:18pm PDT

View this post on Instagram

my safe place.. love you mama ❤️

A post shared by Alia Bhatt ☀️ (@aliaabhatt) on May 10, 2020 at 1:29am PDT

Full Article

It is that day when we celebrate motherhood, mothers, their unmatched love and every small and big thing they do for us. Bollywood celebrities have been sharing heart-warming photos and posts on social media, to mark the day. For Shilpa Shetty, however, it is an extra special day since her surrogate daughter Samisha came home a few months back, and she gets to celebrate the day with her two children now!

During a recent interview, Shilpa reveald that she always wanted two kids since she knows how impactful having a sibling can be, and did not want son Viaan to grow up alone. However, she developed an auto-immune condition called APLA which caused her miscarriages every time she got pregnant.

Before she decided to opt for surrogacy, Shilpa revealed she had also considered adoption as an option and put her name with an organisation for the same. However, it got pushed due to internal disputes and after waiting for four years, her patience got over and she and husband Raj Kundra decided to have a surrogate baby.

On Instagram, we keep coming across photos of the happy family, and Viaan always looks excited to have been promoted to a big brother.

Happy Mother's Day to you, Shilpa!

<strong>EXPECTATIONS</strong> One look at the title <em>The Dark Side of Life - Mumbai City</em> and it seems more apt for a book than a feature film. Nonetheless, that is indeed the case for this film which has a mix of newcomers and experienced actors with Mahesh Bhatt being seen in a crucial part as well. While Azeem Shirazi is the biggest contributor as the lyricist, several composers come together to create half a dozen songs in the film. <img class="aligncenter size-full wp-image-925603" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/T4.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> The kind of sound that kick-starts <strong><em>'Aawargi'</em></strong> reminds one of the kind of music that Vikram Bhatt time and again brings in his films. Jubin Nautiyal is effective as the singer in this Sabir Khan composition which is put together by Azeem Shirazi. The trouble though is that the song sounds dated by at least a decade. Hence, even though it has a soft feel to it, the overall impact is not the kind that makes you revisit it again on loop. The song that follows next is titled <strong><em>'Tu Mujhse Nikalta Nahi'</em></strong> and has the kind of hook-line which is indeed catchy. In a bigger film with a larger setup, this Prakash Prabhakar composed and heard song may well have found good traction. Again, the song is not exceptional but still has that quintessential Bhatt touch to it which makes it stand out. Moreover, Tanveer Gazi puts together a good spin of words, especially the title. Remember <em>'Manali Trance'</em> from <em>The Shaukeens</em>? The song which follows, <strong><em>'Saanp Seedhi Wala Saanp'</em></strong>, is on the same lines and belongs to the trance genre. As a matter of fact Tripty Sinha sings this one too in the same style as that of Neha Kakkar and does manage to make an impact too. It is a new team of composer Sandeep Batraa and lyricists Azeem Shirazi and Ozil Dalal who pair up for this promotional song which is expected to bring in good entertainment quotient. However, a little impact that had been created so far is diluted to a major extent by Rashid Khan composed <strong><em>'Ae Zindagi'</em></strong> which is as sad as it gets. From the composition, writing (Nisar Akhtar) as well as the singing (Altamash Faridi Brothers) perspective, the song is really depressing and just doesn't make you root for it all. A slow moving number that is all about pathos, separation and the fact that life doesn't have much to offer to the protagonists, this one belongs to the quick-skip variety. Another newcomer, Shaan Asif Raj, is the composer for <strong><em>'Muddaton'</em></strong> which starts with the sound of guitar. Seemingly a concert number, this Azeem Shirazi written song is rendered by Amit Mishra. A soft rock number, <em>'Muddaton'</em> tries to bring in the kind of mood that was created by <em>'Sun Raha Hai'</em> [<em>Aashiqui 2</em>]. Though it does fall short, it still makes for a decent hear after all. Had it carried more punch to it, this one could well have found itself a better audience. <strong><em>'Aawargi Deewangi'</em></strong> is the song that concludes the album and its depressing notes do not really help the cause. On the same lines as <em>'Ae Zindagi'</em>, this one is written by Aslam Sani with music by Ahsan Ahmed. There is just nothing in there which arrests your attention and even though Mohammed Irfan is the singer here, you don't really find much entertainment quotient in there. <strong>OVERALL</strong> The music of <em>The Dark Side of Life - Mumbai City</em> is a mixed bag and though there is no real chartbuster out there, two-three songs at least hold your attention while at play. <strong>OUR PICK(S)</strong> <em>‘Tu Mujhse Nikalta Nahi’</em>, <em>‘Saanp Seedhi Wala Saanp’</em>, <em>‘Muddaton’</em>

<strong>EXPECTATIONS</strong> Films directed by Abhishek Kapoor have traditionally carried good music. From <em>Rock On</em> to <em>Fitoor</em>, the music has been consistently impressive and has been as per the theme and setting of the film. Now that he is bringing on <em>Kedarnath</em> that marks the launch of Sara Ali Khan opposite Sushant Singh Rajput, one waits to hear what do composer Amit Trivedi and lyricist Amitabh Bhattacharya have to offer. <img class="aligncenter size-full wp-image-926514" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/Petition-filed-in-Gujarat-High-Court-seeking-ban-on-Sushant-Singh-Rajput-Sara-Ali-Khan-starrer-Kedarnath.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> There is something truly divine about the manner in which <strong><em>‘Namo Namo’</em></strong> begins. A devotional number which is truly devoid of any forced Bollywood inspirations, this one is a well rendered number by Amit Trivedi and makes an instant impression. A smooth sailing song that has a peaceful feel to it and is further accentuated due to the striking visuals that go alongside, ‘<em>Namo Namo’</em> can well be assured of a long shelf life amongst those who want to hear a devotional number first thing in the morning. A love song arrives next in the form of <strong><em>‘Qaafirana’</em></strong> and the mood and feel remains consistent with the kind of set up that Abhishek wanted to put together for <em>Kedarnath</em>. Moreover, there is certain director’s touch that is apparent in the way the tune has been composed, words have been written and especially the manner in which Arijit Singh has rendered this one. There are minimum instruments in the background as primarily it’s the voice and the core composition that takes centre stage which ensures that <em>‘Qaafirana’</em> turns out to be a soulful number that can be heard for a serene experience. What further adds to the beautiful melody is the manner in which Nikhita Gandhi makes a very good impression as a singer despite making a late entry. Things take a celebratory turn as Dev Negi enters the scene and croons <strong><em>‘Sweetheart’</em></strong>. A fun number which is just the kind that one could expect from a Karan Johar, Imtiaz Ali or Aditya Chopra film, this one is as Bollywood as it gets. As a matter of fact it also faintly reminds one of <em>‘Butterfly’</em> [<em>Jab Harry Met Sejal</em>] due to the kind of desi stage and setting that goes with the situation in which the song is set. This one could well have been picked up by Shah Rukh Khan, Ranbir Kapoor or Shahid Kapoor with glee and in that aspect Sushant Singh Rajput can well be happy about the fact that he bagged ‘Sweetheart’ which is a potential chartbuster. Arijit Singh returns on the scene, this time with <strong><em>‘Jaan ‘Nisaar’</em></strong> which appears in a couple of versions. A situational number where the male protagonist is trying to understand why his ladylove is unhappy with him and is trying to woo her all the way back, this one has a smooth flow to it which sees Indian melody being supported by Western instruments. That said the consistency of sound stays in the mood set so far in <em>Kedarnath</em>. Asees Kaur is the voice of the female version and this one somehow appears to be even slower. This is the kind of number that is good when heard in a stand-alone fashion though one can’t expect it to emerge as a chartbuster of sorts. <strong>OVERALL</strong> The music of <em>Kedarnath</em> is good and though it doesn’t have too many songs to result in a complete package affair, it is fine till it lasts. This one has the kind of music that could well grow on the basis of the success of the film. <strong>OUR PICK(S)</strong> <em>‘Namo Namo’</em>, <em>‘Qaafirana’</em>, <em>‘Sweetheart’</em>

<strong>EXPECTATIONS</strong> There was a time when a Rajshri film was special and its music was much awaited as well. However, of late the production house has slowed down its operations, at least when it comes to feature films. Their last biggie was <em>Prem Ratan Dhan Payo</em> and now they are coming up with <em>Hum Chaar</em> which features four newcomers. Though Barjatyas have traditionally worked with a single composer for music of their films, they bring on board a horde of composers for <em>Hum Chaar</em>. Shabbir Ahmed writes. <img class="aligncenter wp-image-941754 size-full" title="Music Review: Hum Chaar" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Hum-Chaar.jpg" alt="Music Review: Hum Chaar" width="720" height="405" /> <strong>MUSIC</strong> George Joseph is the composer for <strong><em>'Friends Bhi Family Hain'</em></strong> which has night club music feel to it. That said, somehow the music overpowers lyrics (by Abhishek Dixit) and hence somehow the rendition by Aaman Trikha and Rajiv Sundaresan is lost in the middle of it all. Moreover, the core hook of the song is the kind that sounds more like an ad jingle than a film song. Team SARA gets to compose maximum number of songs in <em>Hum Chaar</em> with three of these to their credit. First to arrive is <strong><em>'Tum Aisi Kyun Ho'</em></strong> which is rendered by newcomer Sameer Khan. A romantic song which is set in a style that was prevalent 20 years back, this one has an Indi-pop feel to it. That said, it is still better than the opening number and is somehow ok at least. <strong><em>'Duffermasti'</em></strong> is the second offering by Team SARA and the first question that comes to mind is what exactly is the meaning of the song's title here. As it turns out though, this one tries to be all fun and peppy but doesn't really cover much of a distance. It has a feel of certain songs that have been created by Pritam in the past [<em>‘Ullu Ka Patha’</em>, <em>‘Pungi’</em>] but that's about it. Sameer Khan and Asees Kaur come together for Team SARA's third number <strong><em>'Gussa Tera Jayaz Hai'</em></strong>. A situational number where the protagonist is trying to pacify the girl in question who is a bit upset, it goes around in multiple directions before arriving at the key line. A slow moving number, one doesn't expect this one to cover much of a distance. With the name Atif Aslam attached to <strong><em>'Auliya'</em></strong>, one has good expectations from the song. That said, since the four songs so far haven't made much of an impression, there are doubts too about how would this Vipin Patwa composition play out. Well, this one too turns out to be just about okay. Though Atif does sing well, the composition doesn't cover much of a distance. Raaj Aashoo is the composer of <strong><em>'Manmeet Mere'</em></strong> and again one has some sorts of hope since Mohit Chauhan is the singer. As it turns out, this one turns out to be the best of the lot that <em>Hum Chaar</em> had to offer in this soundtrack. The song has good rhythm to it and though one does feel that a bit more energy would have made this a more pleasant outing, it is still fine. <strong>OVERALL</strong> There isn't much to celebrate about the music of <em>Hum Chaar</em> which is only fair and that's about it. <strong>OUR PICK(S)</strong> <em>‘Manmeet Mere’</em>, <em>‘Tum Aisi Kyun Ho’</em>

<strong>EXPECTATIONS</strong> <em>Manikarnika - The Queen of Jhansi</em> is a dream project of Kangana Ranaut and she has given more than a year into making this happen. While it is expected that the film would have the much required scale, canvas and grandeur that the subject necessitates, the same is expected from music as well which is put together by Shankar-Ehsaan-Loy and lyricist Prasoon Joshi. <img class="aligncenter wp-image-941752 size-full" title="Music Review: Manikarnika - The Queen Of Jhansi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/01/Music-review-–-Manikarnika-The-Queen-of-Jhansi.jpg" alt="Music Review: Manikarnika - The Queen Of Jhansi" width="720" height="405" /> <strong>MUSIC</strong> Shankar Mahadevan is the lead singer for <strong><em>‘Bharat’</em></strong>, a patriotic number which is about bringing the country first before your own self. One wonders if the song is primarily for end credits roll since its theme and tonality suggests a sober conclusion to the war drama that Kangana is bringing on screen. The soundtrack in fact concludes with another version which has Prasoon Joshi narrating (and not singing) it for the audiences. Meanwhile, Shankar Mahadevan is back with <strong><em>'Vijayi Bhava'</em></strong>, yet another theme track which is about moving ahead in the right direction and aim for victory. This is the song that should well have been positioned right at the beginning of the album since it comes with just the right kind of passion and energy that one expects from <em>Manikarnika - The Queen of Jhansi</em>. Reminding of the kind of soundtrack that <em>Baahubali</em> series boasted of, <em>'Vijayi Bhava'</em> should make for a good impression if picturised well on screen. Next to arrive is <strong><em>'Bolo Kab Pratikar Karoge'</em></strong> which has Sukhwinder Singh at the helm of affairs. Yet another song which is high on energy and should arrive at a crucial juncture of the film's narrative when the protagonist is gearing up for the battle, it has a thump to it that should make an impression when experienced in theatres. For the first time in the soundtrack a female voice is heard, what with Pratibha Singh Baghel coming behind the mike for <strong><em>'Rajaji'</em></strong>. A romantic number that should play between Manikarnika and her beau, this one has a sweet sound to it and should bring on some light moments on screen. Pratibha does well as the voice of Kangana and she is joined by Ravi Mishra who arrives in the later part of the song. Yet again, one can't expect the song to emerge as a chartbuster here but should fit in well into the film's narrative. It is back to theme songs in <em>Manikarnika - The Queen of Jhansi</em>, what with Shankar Mahadevan coming up with <strong><em>'Shiv Tandav'</em></strong>. As is expected in a song belonging to this genre, this one too stays on to be strictly situational and one waits to see how it is picturised for the big screen experience. Rest assured, one can expect Kangana Ranaut in a fiery avtar here. A song about waiting for the love of your life to be back soon, <strong><em>'Tak Taki'</em></strong> is yet another song that is rendered by Pratibha Singh Baghel. This too is a situational number and at best should aid in taking the story forward. With a period feel to it, this one does well though in staying well within the mood and ambience of the era gone by. The soundtrack concludes with <strong><em>'Dankila'</em></strong> which has a horde of singers coming together in the form of Prajakta Shukre, Shrinidhi Ghatate, Siddharth Mahadevan and Arunaja. A celebration number that should be set in the happier times of Manikarnika's life, <em>'Dankila'</em> should have arrived much earlier in the film's soundtrack. This one has the right energy to it with a peppy feel. <strong>OVERALL</strong> The music of <em>Manikarnika - The Queen of Jhansi</em> is in line with what the film's subject and narrative warranted. Though one doesn't foresee any chartbusters here, the songs should do well to aid the film's narrative. <strong>OUR PICK(S)</strong> <em>‘Dankila’</em>, <em>‘Vijayi Bhava’</em>, <em>‘Rajaji’</em>

<strong>EXPECTATIONS</strong> The promo of <em>Mard Ko Dard Nahi Hota</em> candidly admits that it doesn't wish to be slotted as a festival film. That is pretty apparent when it comes to the soundtrack as well since there are as many as eight songs in there, albeit pretty offbeat in nature. Newcomer Karan Kulkarni puts together the entire album with Garima Obrah writing maximum songs. <img class="aligncenter wp-image-966210 size-full" title="Music Review Mard Ko Dard Nahi Hota" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Mard-Ko-Dard-Nahi-Hota.jpg" alt="Music Review Mard Ko Dard Nahi Hota" width="720" height="450" /> <strong>MUSIC</strong> Benny Dayal goes all energetic in <strong><em>'Rappan Rappi Rap'</em></strong> which has quirky lyrics in there right through the song's four minute duration. A fun track that has a peppy appeal to it, this one is unique in its own way as you have never heard something like this before at least in the Bollywood scheme of things, courtesy lyricist Garima Obrah. Karan joins hands with lyricist Garima Obrah and also comes behind the mike for <strong><em>'Kitthon Da Tu Superstar'</em></strong> which has Sanj V taking the lead. A Punjabi number which has just the kind of musical ingredients that you expect in a song belonging to this genre and setting, this one has a foot tapping appeal to it. Before the album concludes though, there is a shorter <em>'Shooter Version'</em> too which is Sanj V show all the way with Dipanjan Guha joining Karan Kulkarni for the music. Guest composer Shantanu Ghatak comes up with <strong><em>'Tere Liye'</em></strong> which starts with the sound of a piano. This one has Vishal Mishra beginning the proceedings with newcomer Kamakshi Rai joining him behind the mike along with Karan Kulkarni himself. A song based in night, this one tries to be all serene and cool though eventually turns out to be just about decent. Karan Kulkarni takes lead as a singer along with Saba Azad for <strong><em>'Nakhrewaali'</em></strong>. This one has a different kind of a sound to it when compared with the kind of Bollywood numbers that one has been exposed to. That said, the final impact is not really the kind that makes you root for it. Written by Garima Obrah and Hussain Haidry, this one just about passes muster. What catches your attention at the very onset of the title of the song that goes as <strong><em>'Life Mein Fair Chance Kiska'</em></strong> (Jimmy Mani Song). The lead singer here is Suresh Triveni who sings in a style similar to that of S.P. Balasubramaniam, and that too rather intentionally. However, even though this Garima Obrah written number tries to be all cool and funny, it doesn't really manage to make much of an impression. Moreover, the manner in which Suresh Triveni sings this one along with Surya Ragunaathan and Veera Fauzia Saxena, you can hardly comprehend it. Kamakshi Rai returns, this time for an English number <strong><em>'Dreamtime'</em></strong>. Written by Karan Kulkarni, this one has an out and out Western base to it with a club setting to it. One waits to see how this one is picturized on screen and so is the case with <em>'Shaolin Sky'</em> which follows next. This one has Karan Kulkarni playing the triple role of composer, lyricist and singer, even as he tries to bring back the theme of <em>'Rappan Rappi Rap'</em> intermittently. <strong>OVERALL</strong> The music of <em>Mard Ko Dard Nahi Hota</em> is too niche and certain portions of some of the songs may probably make an impression during the film's storytelling, but that's about it. <strong>OUR PICK(S)</strong> <em>‘Rappan Rappi Rap’</em>, <em>‘Kitthon Da Tu Superstar’</em>

<strong>EXPECTATIONS</strong> An Akshay Kumar starrer always has scope for some good music, regardless of the genre that it belongs. <em>Kesari</em> is a battle drama and it is not surprising to actually see half a dozen songs in there. A couple of songs from the film have already become popular and it is time to check out what do the multiple composers and lyricists have to bring on the table for the soundtrack. <img class="aligncenter size-full wp-image-964866" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/03/Music-Review-Kesari.jpg" alt="" width="620" height="450" /> <strong>MUSIC</strong> <em>Kesari</em> kick-starts with Guru Gobind Singh Ji's shabd <strong><em>'Ek Onkaar'</em></strong>. There have been quite a few versions of the track that have been released during last many years and the most popular one has featured in <em>Rang De Basanti</em>. Now Jasbir Jassi comes up with his own rendition here and does manage to make a good impact. It is surprising to find a love song comes next in <em>Kesari</em> which is basically centred on a battle. <strong><em>'Ve Maahi'</em></strong> is a pleasant surprise though as Tanishk Bagchi, who is known most for number of recreated chartbusters that he has delivered, delivers a soulful romantic number which is also written by him. Though the song has been released late in the day, it is bound to find good popularity in long term, courtesy beautiful vocals by both Arijit Singh &amp; Asees Kaur who sing with their heart in. Next to arrive is <strong><em>'Teri Mitti'</em></strong> which is easily the best track in <em>Kesari</em>. In fact it is also one of the best compositions to have been unveiled in 2019 as it has the right thump to it. Right from Manoj Muntashir's high impact lyrics that bring in the right mix of patriotism and emotions to the manner in which Arko composes this one with minimal instruments in the background, <em>'Teri Mitti'</em> warrants a repeat hear. As for the man who makes it all possible, it is newcomer B Praak who impresses with his vocals and leaves a lasting impression. After a high intensity <em>'Teri Mitti'</em>, it is time for celebrations with Tanishk Bagchi bringing on 60s style music for <strong><em>'Sanu Kehndi'</em></strong>. Set in a retro mode, this one written by Kumaar has a good vintage feel to it in every department, be it composition or lyrics. Same holds true for the manner in which Romy and Brijesh Shandilya sing this one, hence making it an all-around effort. It is time to bring back intensity with Chirrantan Bhatt coming with <strong><em>'Ajj Singh Garjega'</em></strong>. This one hails the valour of Sikhs as there is pride written all over the lyrics, courtesy Kunwar Juneja. The manner in which Jazzy B sings this one, you are reminded of many a track like these that feature in Punjabi soundtracks, be it filmy or non-filmy. Yet another high energy song. Last to arrive is <strong><em>'Deh Shiva'</em></strong> which appears in a male and female version each, and has a different set of composers and singers for both. The male version rendered by Sukhwinder Singh is a high decibel version that should make for a good impact in the film's narrative. Put to tune by Gurmoh, it has a wide canvas feel to it. On the other hand Jasleen Royal composes as well as sings the female version in her characteristic voice and this one turns out to be a much sombre version. Based on the shabd by Guru Gobind Singh Ji, this one marks an apt finale to <em>Kesari</em>. <strong>OVERALL</strong> <em>Kesari</em> does well in packing as many as seven tracks in there and cuts across genres while still maintaining a consistent sound. The music is the kind that should earn longevity for itself once the film has a long run in theatres. <strong>OUR PICK(S)</strong> <em>‘Teri Mitti’</em>, <em>‘Ve Maahi’</em>, <em>‘Sanu Kehndi’</em>, <em>‘Ajj Singh Garjega’</em>

<strong>EXPECTATIONS</strong> The film <em>PM Narendra Modi</em> is set for release this Friday and the soundtrack has been unveiled too. Given the fact that the film is a biopic, one expects patriotic flavour in this music of <em>PM Narendra Modi</em> which has multiple composers and lyricists collaborating to bring together half a dozen songs. <img class="aligncenter size-full wp-image-968004" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/PMNM.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> Prasoon Joshi is the lyricist of the opening number <strong><em>'Saugandh Mujhe Iss Mitti Ki'</em></strong> that is composed by Shashi - Khushi and has Shashi Suman singing in a manner that is reminiscent of Sonu Nigam. He is joined by Sukhwinder Singh behind the mike and together they actually come up with a decent outing that reminds one of the kind of music that A.R. Rahman's <em>Lagaan</em> carried. <strong><em>'Namo Namo'</em></strong> has been a prominent slogan for last half a decade and that turns out to be the hook-line of the song. A rap number that is written and rendered by Parry G, this Hitesh Modak composed track is high on intensity and aims at being a power packed outing. Producer Sandip Ssingh too debuts as a singer with this theme song that has Lavaraj as the lyricist as well. Shankar-Ehsaan-Loy and Sameer's <strong><em>'Hindustani'</em></strong> was a huge hit when released back in time for Salman Khan and Sanjay Dutt's unreleased <em>Dus</em>. The song is presented in a new avtar with Parry G's rap kick-starting the proceedings and Sardaana writing added lyrics. This time around it is Shankar Mahadevan's son Siddharth Mahadevan who takes over the mantle and is joined by Shashi Suman as the singer. The overall impact is lacklustre though, as is the case with most of the recreations that are heard first. Shashi-Khushi and Sadaraa come together for <strong><em>'Fakeera'</em></strong> which turns out to be a rather dull outing. Very old fashioned and just not the kind of number that can be expected to make an impression amongst today's audiences, this Raja Hasan and Shashi Suman rendered track belongs to the quick-skip variety. The song which follows next turns out to be even duller, what with composer Hitesh Modak and lyricist Lavraj not really managing to entice any patriotic reactions. Based on Indian classical music, <strong><em>'Junoon'</em></strong> is sung by Javed Ali and though the singer does try, the ordinary tune and the arrangements that accompany it don't really help the cause. The soundtrack concludes with Suvarna Tiwari rendering <strong><em>'Ishwar Allah'</em></strong> which had featured in A.R. Rahman and Javed Akhtar's <em>1947 Earth</em>. Hitesh Modak recreates the song along with lyricist Lavraj and though the 'sur' is in synch with the mood of rest of the album, it doesn't quite entice you much to go for a repeat hearing. <strong>OVERALL</strong> Core situational and thematic. <strong>OUR PICK(S)</strong> <em>‘Saugandh Mujhe Iss Mitti Ki’</em>, <em>‘Namo Namo’</em>

<strong>EXPECTATIONS</strong> Since <em>Romeo Akbar Walter</em> is basically a spy thriller, music is expected to be primarily an added accessory and not necessary an integral part of the film's narrative. Hence, even though there are five tracks in the John Abraham starrer, one expects a situational score at best. <img class="aligncenter size-full wp-image-969148" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Romeo-Akbar-Walter-3-1.jpg" alt="" width="720" height="450" /> <strong>MUSIC</strong> First to arrive is a patriotic number <strong><em>'Vande Mataram'</em></strong> which has Shabbir Ahmed composing and writing it. This one has an old fashioned feel to it and goes all the way into the 60s style. Sonu Nigam leads the show as a singer with Ekta Kapoor (not to be confused with the namesake film and TV producer) in this song that is just about okay and doesn't cover the distance. The one that turns out to be quite good though is <strong><em>'Bulleya'</em></strong>. In fact it is surprising that the song wasn't really pumped all over since it had the potential to emerge as one of the major chartbusters of this year. Rendered by Rabbi Shergill (of <em>'Bulla Ki Jaana Mein Kaun'</em> fame), it has Shahid Mallya as his singing partner. A well written number by Ashok Punjabi, it has a very catchy tune by Sohail Sen that belongs to Sufi genre but has been presented in a Bollywood avtar, hence turning out to be an all-around effort. Next to arrive is a romantic number <strong><em>'Jee Len De'</em></strong> which is put to tune by Raaj Aashoo and is written by Murali Agarwal &amp; Shabbir Ahmed. This one has the kind of tune which reminds one of many Emraan Hashmi numbers that were composed a decade back. As a matter of fact the beginning of the song reminds one of Mohd. Rafi's <em>'Teri Pyaari Pyaari Surat Ko'</em> that was picturised on Rajendra Kumar in <em>Sasural</em> [1961]. However, the similarity just stops at the opening line as rest of this Mohit Chauhan rendered track maintains its own identity. <strong><em>'Allah Hoo Allah'</em></strong> comes next and just like <em>'Bulleya'</em>, even this one had the potential to cover some sort of distance. Composed and written by Shabbir Ahmed, this one is crooned by Sameer Khan and is a good qawalli in the offering. In fact it also appears at a good juncture of the film's narrative and is actually one of the few songs in there that really fits in well. Last to arrive is <strong><em>'Maa'</em></strong> which is written by debutant Prince Dubey. An ordinary piece by composer and singer Ankit Tiwari, it has a slow start and stays that way right through its three minute odd duration. An ode to the mother, it is about the protagonist remembering her in the times of pain and sorrow. Though this is a situational number, it actually brings down the film's pace. <strong>OVERALL</strong> With the current trend of number of soundtracks releasing just a day or two before the film's release, it takes time for the music to grow. However, one can expect <em>'Bulleya'</em> and <em>'Jee Len De'</em> to find an audience in the long run. <strong>OUR PICK(S)</strong> <em>‘Bulleya’</em>, <em>‘Jee Len De’</em>

<strong>EXPECTATIONS</strong> When a film is set as a high school musical, expectations are obviously there for a youthful and vibrant score in the offering. Vishal-Shekhar return from Student of the Year to the second instalment of the franchise and this time around they have multiple lyricists for company. Considering the fact that the mantle of direction has moved on from Karan Johar to Punit Malhotra, one waits to see how the soundtrack turns out to be. <img class="aligncenter size-full wp-image-973392" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/04/Mumbai-Dilli-Di-Kudiyaan-Student-Of-The-Year-2-Tiger-Shroff-Tara-Sutaria-Ananya-Pandey.jpg" alt="" width="720" height="405" /> <strong>MUSIC</strong> First to arrive is the recreated version of 70s chartbuster <em>'Yeh Jawaani Hai Deewani'</em> which has been presented as <strong><em>'The Jawaani Song'</em></strong>. While the combo of R.D. Burman, Anand Bakshi and Kishore Kumar had created magic back then, the new team of Vishal-Shekhar, Anvita Dutt and Vishal Dadlani-Payal Dev chip in well to amalgamate the original with the new version. This one is an experiment on the same lines as Vishal-Shekhar's <em>'Bachna Ae Haseeno'</em> where both new as well as old world had integrated quite seamlessly. The one that actually turns out to be the best song of the album though is <strong><em>'Mumbai Dilli Di Kudiyaan'</em></strong>. Vishal Dadlani chips in with his rap portion for this fun number that has an intoxicating hook is pretty much on the lines of several chartbusters that Vishal-Shekhar had delivered around a decade ago. Dev Negi and Payal Dev do well behind the mike for this fun celebration number written by vayu that has the trio of Tiger Shroff, Tara Sutaria and Ananya Pandey come together on screen and dance away to glory. A chartbuster track. Yet again, it's the hook that makes an instant impact, what with Vishal-Shekhar getting the youthful feel right again. It is always so delightful to hear Shekhar Ravjiani's voice, especially considering the fact that the composer sings quite rarely. He does quite well though in Kumaar written <strong><em>'The Hook Up Song'</em></strong> which has Alia Bhatt making a special appearance alongside Tiger Shroff. Neha Kakkar is the singing partner of Shekhar here and together they ensure that the album so far has three out of three songs working quite well. Sanam Puri, who had shot to fame with <em>'Dhat Tere Ki' </em>In Punit Malhotra's <em>Gori Tere Pyaar Mein</em> is back for the filmmaker's <em>Student of the Year 2</em>. The song he renders this time around is <strong><em>'Fakira'</em></strong> which has Neeti Mohan giving him company behind the mike. A 'desi' number with a hint of 'sufi' to it, this one written by Anvita Dutt is the kind that needs time to grow and hence should be unveiled pronto if it has to reach out to the audience. Next to arrive is <strong><em>'Main Bhi Nahin Soya'</em></strong> and yet again it is Anvita Dutt who is the lyricist here. A Punjabi-Hindi track by Arijit Singh, this one is a sad number and surprisingly doesn't quite fetch your attention even after repeated hearing. Agreed that the feel had to be sober right through its playing time considering its sad theme, one just hopes that it doesn't slow down the proceedings of the film's narrative, especially if it arrives in the second half. The album concludes on a high though with Vishal Dadlani and Payal Dev pairing up for Anvita Dutt written <strong><em>'Jat Ludhiyane Da'</em></strong>. On the same lines as <em>'Mumbai Dilli Di Kudiyaan'</em> and <em>'The Hook Up Song'</em> when it comes to the fun youthful quotient, this one may not go on to emerge as a huge chartbuster but still should do its job well to keep the film's proceedings entertaining. Moreover, it is sung quite well too, especially by Payal Dev who has bagged good opportunity to feature in as many as three songs and has made a good impression each time around. <strong>OVERALL</strong> One expected the music of <em>Student of the Year 2</em> to be largely fun and youthful, and in that aspect the soundtrack does well. There are half a dozen songs in there and while a couple of these are set to be chartbusters, another couple is set to grow in days to come. <strong>OUR PICK(S)</strong> <em>‘Mumbai Dilli Di Kudiyaan’</em>, <em>‘The Jawaani Song’</em>, <em>‘The Hook Up Song’</em>

<strong>EXPECTATIONS</strong> There are good expectations from the music of <em>De De Pyaar De</em>. After all, it's the <em>Sonu Ke Titu Ki Sweety</em> team of Bhushan Kumar and Luv Ranjan coming together, and that by itself sets the platform for an entertaining score. Moreover with Ajay Devgn and Rakul Preet Singh coming together, it turns out to be a unique combination that further adds on to enhanced interest. <img class="aligncenter wp-image-981143 size-full" title="Music Review De De Pyaar De" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/05/Music-Review-De-De-Pyaar-De.jpg" alt="Music Review De De Pyaar De" width="750" height="450" /> <strong>MUSIC</strong> Multiple composers, lyricists and singers come together to create half a dozen songs for <em>De De Pyaar De</em> and the first to arrive is <strong><em>'Vaddi Sharaban'</em></strong>. A song about getting intoxicated and celebrating hard, this song written by Kumaar is put to foot tapping tune by Vipin Patwa. Moreover, with Sunidhi Chauhan leading the show as a singer, it adds further credibility. She is at her vivacious best in this song which has a catchy hook to it and Navraj Hans gives her good company too behind the mike. Later, it also arrives in a 'talli mix' which brings in recall value. A romantic number comes next in the form of <strong><em>'Tu Mila To Haina'</em></strong> and this one is the kind that could well have been seen and heard in a Ranbir Kapoor or a Saif Ali Khan starrer. Amaal Mallik comes up with a soulful tune here which has Arijit Singh delivering his best. A soothing number that has some beautiful lyrics by Kunaal Vermaa, <em>'Tu Mila To Haina'</em> is the kind of song that should have a good shelf life in time to come. Next to arrive is a dance number <strong><em>'Hauli Hauli'</em></strong> and if one was missing Neha Kakkar all this while then well, the wait is over as she gets into her mischievous best with this one. This is the best song to arrive in the album so far as the entire team of composer/lyricist Tanishk Bagchi along with Neha and co-singer Garry Sandhu (who also chips in with the lyrics) does really well to make this one a cracker affair. Mellow D brings on the rap portions in this song which plays in the end credits and ensures that you take this song home and play it all over again. The soundtrack continues to oscillate between a party number and a love song, and it is time for latter to arrive this time around in the form of <strong><em>'Chale Aana'</em></strong>. A happy-sad number which has the team of Amaal Mallik and Kunaal Vermaa pairing up again, this is yet another winner number which is sung beautifully by Armaan Malik. With a soothing tone to it, the song comes at just the right time in the film's narrative and the accompanying visuals further help in making sure that it manages to make a good impact. Moreover, the lyrics stay with you as well. A Punjabi-Hindi number comes up next in the form of Kumaar written <strong><em>'Mukhda Vekh Ke'</em></strong> which is the recreated version of the song that was originally put together by composer Atul Sharma and lyricist Shamsher Sandhu. A celebration number by Manj Musik that has a fun element to it, it may not the kind that would stay on for long amongst the audience but does manage to leave a good impression while it plays on. Mika Singh and Dhvani Bhanushali pair up well to keep good energy flowing right through the song's duration. Last to arrive is Rochak Kohli composed <strong><em>'Dil Royi Jaye'</em></strong> and this one turns out to be one of those sad numbers that actually end up making you feel so sad that you don't quite aim for repeated hearing. In fact the core hook of this Kumaar written song turns out to be way too sad and the song too arrives at that juncture of the film where it only ends up bringing down the film's pace. Arijit Singh is the singer here but somehow you don't quite take this song back home. <strong>OVERALL</strong> The music of <em>De De Pyaar De</em> by and large ends up working quite well with most of the soundtrack actually keeping you pretty much engaged and entertaining. Be it a couple of party numbers or the love songs, they fit in well into the film's narrative as well, hence lending an overall good experience. <strong>OUR PICK(S)</strong> <em>‘Hauli Hauli’</em>, <em>‘Chale Aana’</em>, <em>‘Vaddi Sharaban’</em>, <em>‘Tu Mila To Haina’</em>

<strong>EXPECTATIONS</strong> Salman Khan. Katrina Kaif. Ali Abbas Zafar. Bhushan Kumar. Vishal-Shekhar. Irshad Kamil - When the credentials are as huge as that, you expect the music to be of the next level. Moreover, considering the fact that the film transitions Salman Khan's journey from being a youngster to an old man as he lives his life along with the rise of <em>Bharat</em>, the music needs to be big too. <img class="aligncenter wp-image-981138 size-full" title="Music Review: Bharat" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/05/Bharat-14.jpg" alt="Music Review: Bharat" width="720" height="405" /> <strong>MUSIC</strong> First to arrive is <strong><em>'Slow Motion'</em></strong> and the song is anything but slow motion at play here. A fast paced number that is just the kind which goes with Salman Khan's image, it reminds one of the kind of numbers that were heard in his earlier films like Ready and Bodyguard. Nakash Aziz gets the 'sur' right when it comes to singing for a Salman Khan number and Shreya Ghoshal is a surprise choice as a situation like this could well have been a ready stage for Neha Kakkar to step in. Nonetheless, a foot tapping number that takes time to grow but does eventually. As is expected, a love song comes next in the form of <strong><em>'Chashni'</em></strong>. A couple of versions are heard here with newcomer Abhijeet Srivastava and Neha Bhasin getting a solo track each. While one has to give it to lyricist Irshad Kamil for coming up with a new word for a song, somehow <em>'Chashni'</em> doesn't manage to make an impact. It turns out to be way too full and though the singers do try their best, the final outcome is just not the kind that stays with you for the entire duration. An ordinary track. A fun track comes next, what with newcomer Akasa Singh pairing up with Neeti Mohan and Kamaal Khan for <strong><em>'Aithey Aa'</em></strong>. A song with a North Indian setting to it, <em>'Aithey Aa'</em> has Salman Khan and Katrina Kaif coming together and while their presence does elevate the proceedings to some degree, the overall outcome is not the kind that would make you jive along. Later in the album there is a 'dance version' of the song that comes in as well with Nakash Aziz and Neeti Mohan pairing up. This eventually turns out to be one of those songs that make some sort of an impression after repeated hearing, but that's about it. Theme track of Bharat comes next and this time around director Ali Abbas Zafar steps in as a lyricist as well. In fact he also composes it along with Julius Packiam, and together they come up with <strong><em>'Zinda'</em></strong> which can well be expected to play at number of important junctures of the film. Vishal Dadlani comes behind the mike for this inspirational number that is about confidence in one's abilities and to fight for what's right. This one is an out and out situational number and it would all boil down to the kind of visuals at display once it plays on. The three songs that arrive next are all situational and the first that is heard is <strong><em>'Turpeya'</em></strong>. Sukhwinder Singh is the lead singer here for this number that has a Punjabi base to it and reminds one of many such songs like these that have been heard in the past with a folk feel to them. Expect this one to aid in the film's storytelling. Jyoti Nooran renders <strong><em>'Aaya Na Tu'</em></strong> and the manner in which she sings this one, you are reminded of Kailash Kher. A sad song, this one is quite ordinary and one hopes it doesn't slow down the film's pace. Thankfully, <strong><em>'Thap Thap'</em></strong> turns out to be a relatively better outing, though this too is again there to aid the film's narrative instead of being the kind of number that would emerge as a chartbuster and bring audiences in theaters. Sukhwinder Singh, as always, gets the right energy in for <em>'Thap Thap'</em> and one waits to see the kind of situation for which it has been composed. <strong>OVERALL</strong> One had terrific expectations from Bharat though the music here doesn't turn out to be the kind that was heard in earlier Vishal-Shekhar-Salman Khan-Irshad Kamil-Ali Abbas Zafar collaboration like <em>Tiger Zinda Hai</em>. A couple of songs do make an impact though and for the rest one waits to see how they are integrated into the film. <strong>OUR PICK(S)</strong> <em>‘Slow Motion’</em>, <em>‘Aithey Aa’</em>, <em>‘Zinda’</em>

Shah Rukh Khan’s last film, Zero, released in December 2018 after which he went on a long sabbatical. He has been reading scripts and even shortlisted a few of them. Meanwhile, the names of a lot of filmmakers did the rounds with whom the superstar was supposedly working with. However, of late, it has come to light that SRK is working with blockbuster filmmaker Rajkumar Hirani in his next directorial flick. Recently, while answering a fan question, he also let out a strong hint that he has indeed given his nod to Rajkumar Hirani’s flick. And naturally, it led to a lot of excitement among fans.

While not much is known about the film and its subject, Bollywood Hungama has exclusively learnt that for this venture, Rajkumar Hirani and his frequent collaborator writer Abhijat Joshi have been joined by Kanika Dhillon. She has become quite well known of late thanks to her work in films like Manmarziyaan (2018), Kedarnath (2018), Judgmentall Hai Kya (2019) and the web film Guilty (2020). Interestingly, in the beginning of her career, she had extensively worked with SRK’s Red Chillies Entertainment. She worked as an assistant director on SRK’s 2007 blockbuster Om Shanti Om. She wrote the screenplay of Ra.One (2011) and additional screenplay of Always Kabhi Kabhi (2011). Rajkumar Hirani’s next hence marks Kanika’s reunion with Shah Rukh and Red Chillies Entertainment after almost 9 years.

A source close to the project says, “Kanika Dhillon has come on-board and she along with Rajkumar Hirani and Abhijat Joshi are busy scripting the film. Kanika is mainly scripting while Rajkumar and Abhijat are helping her with inputs. They are hoping to finish in a month or two. The film was to go on floors in August but due to the lockdown, it seems that the shoot will be pushed ahead.”

Rajkumar Hirani’s last film, Sanju, released in 2018 and was based on the controversial life of actor Sanjay Dutt. Starring Ranbir Kapoor, this flick emerged as the biggest hit of that year, earning Rs. 342.53 crores. Hirani, in fact, holds the envious record of not giving a single flop as a director. The source assures, “His film with Shah Rukh Khan too seems to be shaping up well, at the writing stage. And Rajkumar-Abhijat-Kanika collaboration has added a lot to the script and it’ll be something to watch out for.”

Also Read: Post Manmarziyaan, Taapsee Pannu and Kanika Dhillon reunite for Haseen Dillruba

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