Considering how Bollywood's production houses and composers are packed into tight cliques, that's highly unlikely. Sunday MiD DAY finds why the trend won't change anytime soon
Considering how Bollywood's production houses and composers are packed into tight cliques, that's highly unlikely. Sunday MiD DAY finds why the trend won't change anytime soon
One of Bollywood's many verities is its swarming network of nexuses and long-entrenched power cabals, colloquially termed 'camps'. In the Hindi film music world too, this age-old 'tu meri team mein hai' mantra is becoming increasingly evident.
Consider this: Producer duo Farhan Akhtar-Ritesh Sidhwani have a veritable smorgasbord of big stars in their forthcoming megaventures -- Shah Rukh headlines Don2, Hrithik Roshan, Abhay Deol and Farhan Akhtar star in Zindagi Na Milegi Dobara, and Abhishek Bachchan is the hero of Game. Interestingly, the filmmakers have chosen the same team to compose for all three films -- Shankar Ehsaan Loy (SEL), with whom they have 'rocked on' for a decade's worth of films.
Band Baaja Baaraat is Salim Suleiman's eighth film with Yash Raj, making them the unofficial in-house music composers for the banner.
When Dostana 2 rolls into theatres next year, you can be sure it will be Vishal-Shekhar's music that the stars will groove to. After Dostana and I Hate Luv Storys, the composers have a stronghold in producer Karan Johar's camp; and Dadlani says he is already innovating a new sound for the film.
One of the industry's most sought-after voices, playback singer Sunidhi Chauhan is all for cliqu ufffds. "The listener receives better creative output when a music director teams up repeatedly with someone. Creative collaborations develop a heightened level of understanding. The music director knows exactly what the filmmaker is looking for, leaving no room for a communication gap."
Chauhan, who has sung the high-tempo Desi girl for the Vishal Shekhar-Karan Johar combination, as well as the soft Bin Tere, posits proof that "While there can be a danger of teams sounding repetitive, I think successful filmmakers and composers are intelligent enough to know how to avoid this."
These jugalbandis form the engines that drive pop culture, but they can also make new or networking-challenged composers feel like country hicks denied entry at an exclusive Notting Hill nightclub. Avid music listener and Rabindra Sangeet connoisseur Sudha Udeshi says, "I have higher expectations from a team which has delivered melodious music earlier. A Gulzar and Vishal Bharadwaj are on the same wavelength -- the way a singer and tabalchi are in sync while performing. Having said that, long-term associations shouldn't be nurtured at the cost of exciting new permutations. A Vinod Chopra-Rahman collaboration in the right genre would make my eyes light up in anticipation."
But for now, whether it is due to combustible creative chemistry or big business brio, it's these combinations that will hum along harmoniously.
A R Rahman-Mani Ratnam
Music Score 6/10
Southern virtuoso Mani Ratnam can claim credit for introducing Rahman to enchanted Hindi listeners with Roja, back in 1993. Ratnam, and music buffs, have been in enamoured by the maestro ever since. Through box office lows (Dil Se, Yuva), and highs (Bombay, Guru), Ratnam has stuck by Rahman's side for 17 years. He reasons: "Success has not touched Rahman. He is keen to experiment, to be unsafe. He sees and enjoys a lot of good cinema."
The tepid reaction to their last effort, Raavan, may play the villain in this dyad, but the era-defining quality of their oeuvre (Dil Hai Chhota Sa, Chhaiya Chhaiya, Barso Re) says this alliance will not be easily jettisoned.
Pritam-Priyadarshan
Music Score 8/10
Both are fecund creators and their frenzied style of working complements each other. Priyadarshan jokes, "Pritam is so busy, you should ask him if he even remembers his own name." This juggernaut has churned out eight films in the last half decade (Garam Masala, Bhagambhag, Dhol, Bhool Bhulaiya, Billu, De Dana Dhan, Khatta Meetha, Aakrosh).
Musical high points (Ada, Marjaani) obviously override their spotty box office record of late because they are back together for the forthcoming Ajay-Anil starrer, Tezz. The titles (Bhagambhag, De Dana Dan, Tezz) indicate the nature of this association's high-amperage music -- speedy and on-the-go.
Shankar Ehsaan Loy-Farhan Akhtar
Music Score 6/10
Singer-composer Shankar Mahadevan laughs, "Farhan Akhtar and Ritesh Sidhwani's Excel Entertainment had a new production partner and a new director in their 2010 release, Karthik Calling Karthik, but they never change the music directors!"
Bollywood's only music composing trio Shankar-Ehsaan-Loy (SEL) have enjoyed a ten-year-long partnership with Excel, courtesy their innovative musical eclecticism (from new age to Rock to Bollywood) in Dil Chahta Hai, Lakshya, Don, Rock On, Luck By Chance and Karthik Calling Karthik. Mahadevan puts it down to a fortuitous working relationship. "At Excel, everything is team work. Be it Farhan or Ritesh or Javed saab, the energy you get from like-minded collaborators permeates your work."
Pritam-Yash Raj
Music Score 5/10
Pritam is fast emerging as the Laxmikant Pyarelal of today, and forms multiple mergers with many filmmakers. T-Series seems to be moving from Himesh to Pritam; the Bhatts swear by him; Anurag Basu wants him to score for all his films. And Pritam is also a constant with Yash Raj, the company that gave him his first big film (Mere Yaar Ki Shaadi Hai), and got his career up to speed after he composed the adrenaline-pumping chartbuster, Dhoom machale (2003).
After cleverly crafted hits in Dhoom 2, New York and Badmaash Company, Pritam is unstinting in his evaluation of Aditya Chopra: "Adi is like a film institute. At least one chapter should be dedicated to this whiz kid in any book on Bollywood." So is Pritam part of Dhoom 3? He shrugs, "It is completely Adi's call."
SEL-Karan Johar
Music Score 5/10
As some major production houses kick into high gear and become almost studio-like in their multi-project production schedules, it makes good business sense for them to fall back on tried and tested associates. SEL laid the groundwork over a period of time at Dharma Productions with popular scores for Kal Ho Naa Ho, and Kabhi Alvida Naa Kehna and have since held the baton for Wake Up Sid, My Name Is Khan and We Are Family all within the last year.
Salim Suleiman-Yash Raj
Music Score 8/10
After successfully taking the leap of faith from snazzy background scores to song compositions, Salim Suleiman have etched a seemingly ineluctable place on Yash Chopra's team. They are the music directors of the banner's Neal 'N' Nikki, Chak De India, Aaja Nachle, Roadside Romeo, Rab Ne Bana Di Jodi, Rocket Singh, Pyaar Impossible and the recent Band Baaja Baaraat.
The music brother duo are adept at moulding heart-tugging tunes, as seen in their last six films with Yash Raj. Their songs are studded with catchy hooks (Chak de, Nachle nachle, Tarkeebein). Punning unintentionally, Salim says, "Aditya Chopra ke saath humari 'tuning' hai."
Sajid Wajid-Salman Khan
Music Score 12/10
After scoring with mass numbers tailored to suit Khan's image in Dabangg, Wanted and Partner, the Sajid-Wajid of today are a far cry from their hardscrabble years of struggle in the late 1980s when they would share composing credits with other music directors (Pyar Kiya Toh Darna Kya). Anyone who sees their success today can be forgiven for having a Himesh Reshammiya moment.
Like Himesh, they too were heavily backed by Khan, who is that rare star who takes an interest in the nut-and-bolt processes of his film's music. He stood steadfastly by the brothers for his family productions (Pyar Kiya Toh Darna Kya, Hello Brother) as well projects he starred in (Shaadi Karke Phas Gaye Yaar). Initially, their music lacked fire. Their luck turned with Mujhse Shaadi Karoge. A grateful Sajid says, "Salmanbhai is like an elder brother to us. He gave us big banner films at a time when we weren't visible in a crowd of music directors. I have decided that once I give Salmanbhai his biggest hits, I will give up working."
Shantanu Moitra-Vinod Chopra
Music Score 4/10
Vinod Chopra appreciates Shantanu Moitra's silken Piyu Bole as much as the crowd-pleasing All Izz Well, and can also endorse the snazzy torch song Kaisi Paheli Zindagani to add some serious sizzle to their repertoire.
Moitra succinctly explains the basis of the association that spans Parineeta, Lage Raho Munnabhai, Eklavya and 3 Idiots: "For me, Chopra is a great producer because he doesn't discuss 'hits' and 'misses'; he discusses 'good' and 'bad'."
Bollywood News Service
Old-time heroes and their favourites
In the Golden Age of Hindi film music, the stardom of each of the three major actor-filmmakers was fanned and fuelled by their designated music director. The Raj Kapoor-Shankar Jaikishen jodi is legendary, and remained unbroken through two decades, spinning timeless classic songs in Barsaat, Awara, Shri 420, Sangam and Mera Naam Joker.
S D Burman was the music director of Dev Anand's first production Afsar and continued composing for Navketan (Taxi Driver, Guide et al) right up till Dev made his debut as a director (Prem Pujari) 20 years later. Finally, Dev moved on to Burman Junior only because he was more suited to the youth epic, Hare Rama Hare Krishna.
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Interestingly, every Dilip Kumar release (there were eight) in the 1960s, including Mughal-E-Azam, was scored by Naushad. Earlier, Naushad had formed a long-term working relationship with Mehboob Khan too; and with Kardar in the studio era.
V Shantaram teamed up with Vasant Desai for a dozen films through the 1940s and 1950s.
The BR Chopra-Ravi collaboration spawned popular songs in the sixties (Gumraah) and the eighties (Nikaah).
Salil Chowdhary spun gossamer melodies in as many as 11 films with Bimal Roy. The musical mergers proved beneficial for the creators as well as the listeners.
Kalyanji Anandji composed for Manoj Kumar's breakthrough film, Himalay Ki God Mein, as well as blockbusters Upkaar and Purab Aur Paschim when he turned filmmaker. Anandji says: "Manojji used to inspire us in such a way that he could make you feel the emotions in the situations by just talking passionately about them."
In the Seventies, Amitabh Bachchan's two major camps were clearly segregated. Prakash Mehra delivered a string of hits with Kalyanji Anandji (Zanjeer, Hera Pheri, Muqaddar Ka Sikander, Lawaris) while Manmohan Desai joined forces with Laxmikant Pyarelal (Amar Akbar Anthony, Parvarish, Suhaag, Naseeb, Coolie).
R D Burman's compositions for Nasir Hussain brought an aerosol freshness to a string of popcorn entertainers while his seven-film long association with Gulzar has yielded unforgettables that are still sighed over.
Evidently, having a regular filmmaker's patronage has benefitted a composer creatively and commercially. As the immensely- talented Roshan discovered in the 1960s, it doesn't pay to go it alone.
His son Rajesh Roshan too couldn't find his groove with any one filmmaker till brother Rakesh Roshan started making films -- 30 years and 17 films later, they have still to strike a discordant note.
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