Using a positively voluptuous-looking Vidya Balan taking centre stage, director Milan Luthria's The Dirty Picture was in the news for over a few years now. The main destination, in excess of Vidya herself, is the character she performs in the movie, and '80s sexy starlet, purportedly according to the one and only the legendary Silk Smitha. The excitement about the movie has only increased ever because the promos in the movie started doing the rounds of theatres and on-line, on videosharing sites, with Vidya's look attracting all the attention because the ear-popping song used in it.
With a movie from the '80s, when Bollywood was at its experimental best, the song in the movie is likely to result in an excitement. With Vishal Dadlani and Shekhar Ravjiani on composing duties, one expects at least to get vowed. So, does The Dirty Picture OST meet the expectations?
The songs reveals with its flagship number, ooh la la. The song has presently attracted quite the excitement, from its use in the movie's raunchy promos, and lives as much as its star billing. A great '80s renaissance in the song, ooh la la features Bappi Lahiri in a powerful position about the male vocals, while Shreya Ghoshal emulates the classic bimbette voice with a T. Rajat Arora's lyrics are sort of self-aware, in terms of the almost lascivious images that they can bring up, but they do keep in line with all the feel in the track. The song's pumping set up borders on something from Bollywood's jhankaar beats years, but that completes the image perfectly too. There's also a beat-heavy, bhangra-influenced mixture of the song later around the playlist; but as it sounds interesting, the set up simply is removed as a bit too anachronistic.
The album requires a romantic turn using the next handful of amounts, both entitled ishq sufiyana, featured in separate men and women versions. A mans version comes first, with Kamal Khan on vocals. Because the title indicates, the track is really a sufiyana number, and so far as sufi pop tracks use Bollywood, this is a reasonably straightforward one. The track is mildly similar to tum jo aaye zindagi mein, from Milan Luthria's earlier Not So Long Ago In Mumbaai', but it is a passing similarity. There is nothing too notable concerning the track's arrangement or seem, however it casts an attractive pale around the overall album anyway. The feminine version from the track brings Sunidhi Chauhan on vocals, and also the lady is within her element. Though there is not a distinction between a mans and female versions of ishq sufiyana, Sunidhi's verve takes that one up a notch.
Sunidhi returns around the next number, honeymoon ki raat, which seems like a vintage Bappi Lahiri number in the beginning. The noisy beats, heavy utilisation of the synthesisers along with a kitschy, dance-floor worthy tune that seems like something straight from the Disco Dancer soundtrack, make that one a champion among all. As the disco feel from the track is very interesting, the cool lyrics from Rajat Arora deserve attention too. The only real grouse you could hold against that one, possibly, is the fact that Vishal-Shekhar haven't incorporated a much more up-tempo version from the track around the album.
Shreya Ghoshal attempts a sensuous spoken-word intro on twinkle twinkle, the final track around the album. She works, however the cheesiness from the opening lines in the track takes a relatively good sheen from the number. That one is torn between as being a bhangra number along with a standard 1980s stay tuned preserving the theme from the album. As the vocals from Shreya seem quite bhangra-like, the relaxation from the track is perfectly period, the seem and also the arrangement straight from a Jeetendra-Sridevi type movie, as the male add the track, Rana Majumdar, looks like R. D. Burman's roaring baritone. Regrettably, the wild mixture of each one of these elements proves an excessive amount of for that track to deal with, which eventually ends up flat on its face, a mash from it all.
While there are a several interesting songs on The Dirty Picture songs, such as ooh la la and honeymoon ki raat, Vishal-Shekhar don't capitalise about the period charm of their subject. Indeed, besides the afore-mentioned numbers, there is nothing breakout here. With all the type of kitschy attraction that the movie appears to encapsulate, the composers had a chance to craft anything of an idea album with the entire launch. Though they have not completely wasted the opportunity, they have not really capitalised in it possibly. Have this one for ooh la la and honeymoon ki raat, but do not expect a lot more than thatů
that Ajay Atul are not going anywhere soon.