Posts Tagged ‘Piyush Mishra’

Though the music CDs are still to hit the stores, the music of Gangs of Wasseypur – 2 is out online. Our regular (almost in-house) music critic Rohit has sent in this post. Padho aur suno!

(Rohit wrote on GoW-1 music too, here. And a recent post on GoW-2 lyrics by Varun Grover, here.

Over to Rohit…


Even Apple isn’t so tight lipped about their new products! We don’t know if it was the music company or the production house but the fact remains, the music being released 3 odd weeks before the film is to be released isn’t a great idea no matter what logic is thrown at us. The songs need some space of their own as well. Anyway, let’s get down to business.

1. Chicha ledar – The song starts with that familiar sound that all the people who lived near a cotton extracting/beating shop would easily identify. (Those huge sitar-like equipments) and then with appropriate ‘building up’ the song launches into a constant beat arrangement and in comes Durga. Backed by extremely good lyrics the song grabs you and runs and runs. Special mention of the amazing use of words like ‘cheecha ledar, sarau, word play (whether i like the weather)’. The constant ‘joota joota joota’ gives the song a ‘remixed’ feel and then the ‘dub step’ comes in. Maha-amaJing! My grouse with the song is that it is JUST 4 minutes. Clearly a GAJJJJAB start to the album! (Varun insists that the usage of ‘sarau’ is a tribute to Lucknow, I must add).

Special mention of Durga (the 12-year old singer), listen carefully how she says ‘dil’ in the song. Everytime. That’s called hugging the lyrics and not just singing it. Kudos!

2. Kaala re – Sneha khanwalkar. at. her. best. If the ‘keh ke loonga’ made us all hear Sneha launch into her ‘catty’ avatar, this one explores the playful undertones (with a very dark and haunting cello/bass arrangement). Saiyyan kartey ji coal-bazari. A song that’s helped a great deal by excellent lyrics. (Kaala bilkul surmey wala). All shades of black, explored. very. well. Perhaps some parallel will be drawn with the sound of A.R. Rahman.

3. Electric piya – Rasika D Rani starts off (and must say the pronunciation of ‘elektric’ is very very ‘chic’!’), then a very bhojpuri (Trinidad Tobago also?) music setting takes over (aided by ‘casio’like sound, harmonium, dholak and manjeeras). Dholak and Harmonium are quite prominent in addition to the vocals. A very naughty (in a very un-womaniya way) song. This is more like leg pulling of your ‘piya’. The words are pronounced in a flow and might not be able to get into the mind immediately. Repeat the song and you will find yourself smiling.

4.  Bahut Khoob – I am VERY interested to see the way this is going to be filmed. Very theatrical in the way it uses the voice of the kids (And at times Sneha in between). Hear it to make an opinion on the song. Mix and scratch and mix and scratch again and again!

5. Taar bijli – Harmonium with a lot of female backup singers (and some ‘chammach’ on dholak) leaves us with Padamshree Sharda Sinha to weave magic. The setting is very playful. Lyrics full of gentle banter directed towards her in-laws by the bride. ‘Na idhar na udhar hi sihaare piya’…! excellent lyrics. The song is NOT another ‘womaniya’. While Womaniya was more ‘intimate, naughty and personal’, this one puts out the banter in open and poses some questions to the entire family about the bridegroom. The song is actually a satire on the worsening condition of Bihar in 80s and 90s. Perhaps the most conventional song of the pack. Sweet and melodious.

6. Aabroo – Starts with bulbul tarang and dholak. The setting is very ‘gali mohalla’ style. Piyush mishra (and you can picture him sitting on a ‘chowk’ surrounded by people. A little different from his normal style, Piyush Mishra emotes ‘ekdam ghus key’. Bhupesh singh very smartly contests Piyush Mishra (not teams up, contests). An election campaign song, it’s the ‘compteesan’ that has been got music as a background. Kudos to Piyush Mishra! Hilarious to the core. A genre that has resurfaced after a long time,

7. Perpendicular theme – Using a mix of brass band and other sounds, this less than a 2 minute track ends too soon (May be weird just for me, because I am used to the ‘themes’ being longer). A kid’s playful voice a shehnai (may be) and drums at times. Also, the brass band plays a tune in between. I have heard it somewhere and can’t put a finger to it. Who can remember it? I liked the song but disliked the fact it’s too short. The theme is paced so well that you would want to listen to it for a longer duration but then, it ends.

8. Moora – Guitar and mandolin together and you know the song will make you smile. Sneha khanwalkar gives a whispering start to the song. Chiefly using Mandolin and Guitar (just ‘by the side’ arrangement), the beauty of the song is that the vocals are also understated. Would have liked a little more ‘energy’ in the vocals. The lyrics anyway talk of hope so found this version a little dim. The interesting part of this version is a faint male voice. It’s the voice of Robbie styles from Trinidad who played cuatro and mandolin in the song. Best part – he doesn’t know Hindi.

9. Tunya – Bulbultarang’s excellent use with the members of ‘Baal party’ (and if you hear attentively I guess there is a bit of Sneha in the background too). This is just 1:22 minutes track and boy is it sticky or what? As I continue to complain about the duration of this track I can’t help but feel this will make a great ringtone too!

10. Bahut Khoob (8 Bit dubstep) – Excellent use of the 8 bit dubstep arrangement has made this piece (which is still less than 3 minutes!) breezy and intriguing at the same time. From 1:50 minutes, Sneha uses Super Mario music (with altered tempo) and then constructs a bit of her own tune around it. This is sheer brilliance! (90s kids, rejoice!). Although in the lyrics post, it was mentioned that the words are random, I am quite sure that the kids are referring to the movements of a train. Varun (the lyricist) points out that the song refers to the movement of ‘Ganga, the river’. Hear hear and then let’s discuss?

11. Electric piya (Fused) – Not remixed, Fused! Pretty straight forward ‘fused’ version. Harmonium remains and is aided by uniform beats and at times echo. Didn’t like this version much. May be you will. Try it out.

12. Moora (Morning) – Compared to the previous version of ‘Moora’, this one starts with more instruments and the mandolin makes way for  The ‘Humni ke chori ke nagariya’ boy Deepak gets behind the microphone again to give us a more soulful rendition of this song. Lyrics, excellent. Energy (and music arrangement) – Up to the mark! No guitar. Some echo. Some trance like sound. Kabir-sque lyrics. Ends very very techno istyle! My pick of the album, this.

13. KKL – Sneha! Sneha! echoes ‘KKL’ which is nothing but Keh ke loonga. This version will tickle all the ‘techno junkies’ at the right places. If we remember right, the ‘loonga loonga keh ke’ (from part 1 isn’t used in Gangs of Wasseypur part 1, the film). This track features the all male chorus from the song and then mixes up with tiny bits of Sneha’s voice. Sneha has used the bits from the part 1 song superbly! This is what you can easily call as a ‘ball busting ass kicking’ music arrangement. (Try getting the ‘चीख’ of sneha out of your head when she goes ‘Teri keh ke longaaaaaaa’.) What I shudder thinking about is – our reality TV shows will kill this song by ‘performing’ on this.

 A lot of talk has happened pointing directly towards how some of the tracks in Gangs of wasseypur sound like ‘Sound trippin’. If we are to go back in time by say 2 years (when Gangs of wasseypur’s music was being made), MTV had no idea of Sound trippin. Could it not be a possibility that Sound trippin came AFTER viacomm heard the music and sounded off their Music channel to make a show around these ‘unique’ songs and sounds that Sneha accumulated? Think about it.

With the Music of Gangs of Wasseypur 1,  sitting pretty already and other credentials in her bag (rather backpack!), Sneha Khanwalkar delivers a different sound with this album. While the Gangs of Wasseypur 1 album was tilted heavily towards the folk sound, this one is more contemporary. The selection of singers and lyrics continue to play a smart role in the overall feel of the album. Piyush mishra appears for just one song and hits a home run. Varun Grover should probably start preparing for a speech already because kala rey will cause a lot of cheecha ledar and might make a moora of a lot of lyricists this year. All we shall do is just celebrate the arrival of a deeply rooted (to the story line and narration) lyricist and yes the words bahut khoob will be incidental.

Our pick – Entire album. With so much prem pritam pyare and bro-jid-esque music around, if any album is worth your full time, it is this.

The much awaited music (by Sneha Khanwalkar) of part 2 of Anurag Kashyap’s gangster-political-crime-drama Gangs of Wasseypur is finally out. Just 3 weeks before the film’s release on 8th August. A tad bit late, some may feel but der-durust and all that.

Given the film’s bhojpuri-mixed-Hindi dialect, we thought of doing another post (like last time) with lyrics. And embedded the songs too from soundcloud, so that you can read and sing-along if in the mood. Over to album’s co-lyricist Varun Grover.


२ साल, और उन दो सालों के हर दिन के चौबीसों घंटे लगे यहाँ तक पहुँचने में. इतना intense क्रियटिव प्रोसेस मैंने इससे पहले कभी नहीं देखा था. और थोड़े दिन पहले तक भी मुझे लग रहा था कि वो दिन कभी आएगा ही नहीं जब वासेपुर के गानों का काम खतम हो जाएगा. लेकिन आ गया है. सारे गाने एक-एक कर के यहाँ नीचे हैं…शब्दों के साथ.

और सबके बारे में २-२ लाइनें भी.

छीछालेदर: Singer: Durga, Lyrics: Varun Grover

‘छीछालेदर’ शब्द अनुराग कश्यप ने दिया. उनको एक बिना लॉजिक का गाना चाहिए था. कैरेक्टर स्केच की तरह. बस टुकड़ों-टुकड़ों में किसी बंदे की व्याख्या करते हुए. गाया है १२-१३ साल की दुर्गा ने जो मूलतः आंध्र प्रदेश की है.

Mera joota fake leather,

Dil chichha-ledar

Wo humse poochey whether,

I like the weather

Chamcham waali goggle, bhool ke sarahu bhaage,

Makhmal waala maflar, chhorh ke sarahu bhaagey

Tere naam ke raadhe bhaiyya

Najar kateeli laser.

Mera joota fake leather,

Dil chichha-ledar

Wo humse poochey whether,

I like the weather

Hedar-dedar hedar-dedar

Dil chhichha-ledar

Maar tamaam haraamkhori,

lambi lambi chhorhe

Kare tikalla, jaat aghori,

Bani banaayi godhey…

Maar tamaam haraamkhori,

lambi lambi chhorhe

Daant se kholey beer botal,

Nain se loha modey-modey…

Nakshebaaji haath mein lekar,

Sab rangbaaji saath mein lekar,

Dar se farr se bedar…(2)

Hedar-dedar hedar-dedar (4)

Dil chhichha-ledar…

काला रे: Singer: Sneha Khanwalkar, Lyrics: Varun Grover

फिल्म का इकलौता ‘रोमांटिक’ गाना. लेकिन क्योंकि हीरो (फैज़ल खान) गैंगस्टर भी है और काला भी, इसलिए गाना भी थोड़ा dark और haunting बनाना था.

Kaala re, saiyyaan, kaala re…

Mann kaala re, tann kaala re,

Kaali zubaan ki kaali gaari….

Kaale din ki kaali shaamein,

Saiyyaan karte ji kolbazaari…

Bairi kol kol kol, chheney tol tol tol,

Chhat aangan chaar deewari…

Saiyyaan karte ji…saiyyaan karte ji…

Saiyyan karte ji kolbazaari…

Kaali mitti, kutta kaala,

Kaala bilkul surmey waala,

Kaala kauvva, hauvva kaala….

Kaala baadal ghirne waala,

Kaala moti, girne waala,

Kaala jhanda, danda kaala….

Kaala batua, paisa kaala..

Kaali aankhon jaisa kaala,

Kaali agni…

Kaali garmi, sooraj kaala,

Kaala beegha, aur gaj kaala,

Kaali baaati…haathi kaala…


Bairi coal coal…

Bairi kol kol kol,

chheeney whole-sole-tol….

Rang paani aur pichkaari…

Saiyyaan karte ji…saiyyaan karte ji…

Saiyyan karte ji kolbazaari…

बहुत खूब: Singer: A group of school kids (एक बच्चे का नाम, जिसकी आवाज़ में कविता सबसे ज़्यादा है: पड़फूल था.)

यह किसी ने नहीं लिखा. बिहार में फिल्म पर रिसर्च के दौरान स्नेहा मुज़फ्फरपुर के बेरिया गाँव में पहुंची. स्कूल से लौटे बच्चों ने टेक्नोलोजी से लदे ‘शहरी’ ग्रुप को घेर लिया. स्नेहा ने  बच्चों से कहा कोई कविता सुनाओ, मैं रिकार्ड करूंगी. वही आवाजें रिकार्ड की और फिर उन्हीं को जोड़ कर यह गीत बना.

Bahut khoob Bahut khoob Bahut khoob

Chakachak kumari..

Chattanon se krida karti

Kal kal karti, chal chal karti

Chattanon se krida karti

Kabhi idhar mud, kabhi udhar mud

Ban parbat mein lipti chhupti.

Dharti ke har kisi chor se,

Ban parbat ke kisi mod se

Boond boond se bana hai, kaun

Chaar dhaamon se juda hai, kaun.

Bahut khoob Bahut khoob Bahut khoob

मूरा: Singer: Sneha Khanwalkar/Deepak Kumar Lyrics: Varun Grover

इस गीत के दो versions हैं. एक स्नेहा की आवाज़ में और दूसरा दीपक कुमार (जिसने Gow-1 में ‘हमनी के छोरी के’ गाया था) की आवाज़ में. कोशिश थी एक tongue-in-cheek pep-talk song लिखने की. IT-BHU में रहते हुए hostel में ‘फ्रस्टियाओ’ और ‘नर्भसाओ’ बहुत सुना था. वो काम आया. इसमें भी स्नेहा की संगत में एक कैलिप्सो बैंड है, उसके कैरिबियन रिसर्च के दौरान ढूँढा हुआ.

Moora Morning (sung by Deepak Kumar)

Frustiyaao nahin moora,

Narbhasaao nahin moora,

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Jo bhi wrongwa hai usey,

Set right-wa karo ji,

Naahin loojiye ji hope,

Thoda fightwa karo ji…

Jo bhi wrongwa hai usey,

Set right-wa karo ji,

Naahin loojiye ji hope,

Thoda fightwa karo ji…moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Kaahe muthhi mein pakad,

Raha paniya re moora…

Kaahe muthhi mein pakar,

Raha paniya re moora…

Rahe paani ki na yaad

Naa nisaniya re moora

Startey startey startey..

Startey brainwa re moora,

Charh trainwa re moora,

Startey brainwa re moora,

Charh trainwa re moora,

Naahin pagla re bann,

Act sane-wa re moora..

Anytime anytime,

Hai yeh retiya kaa ghar,

Anytime anytime,

Bharbharaao nahin moora..

Anytime anytime,

Diye chance-wa jo life,

Refuse-aao nahin moora…

Sakpakaao nahin moora,

Latpataao nahin moora…

Sakpakaao nahin moora,

Latpataao nahin moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

आबरू: Singer: Bhupesh Singh, Piyush Mishra, Lyrics: Piyush Mishra

कव्वाली-मुकाबला जैसी शैली में रामाधीर सिंह और फैज़ल खान के चुनाव प्रचार के लिए एक गीत बनाना था. पीयूष मिश्रा ने अपने धुरंधर अंदाज़ में लिखा और गाया.

Hum zahar se bhare, bicchhuon mein paley

arey tu humein kaatne ki saza payega

Arey aabroo ki kasam, cheer denge tujhe

Dum kate saanp sa.. bil bila jayega

Aabroo ke jane, draupadi ki kasam

Kauravon ki sabha mein jo aa jayega

Arey Dushaasan hain hum, kheench lenge tujhey

Aabroo jo bachi hai luta jayega

Aabroo ki kahi aaj sun le abhi

Choli lehanga pehan ke kahan jaayega

Jo har ik chhed mein goliyan jo padi

toh har ik chhed bansi baaja jayega

chhedo.. chhedo chhedo.. chhedo

oh chhedon key khuda meri sun to zara

beech baazaar mein tu toh aa jayega

le aa gaya beech bazaar mein, ab bol.

Toh ruk…

Sand ban ke nache-ga, sarey aam tuu..

Bhaand ban ke muhaley mein chaa jayega.

Hum to duryodhan ke poot, saath mein raavan ke chele

Hum to  bhari-putna surpanakha ki godon mein khele

hum to aise hain chandal cheer ke kutta khate hain

hum to aise teer-andaj aadmi ain chabate hain

hum to shakuni hain, hum kansraj hain kulta shulta neech

hum toh narbhakshi hain, gaay bhains ka chara khaan ley kheench

arey hum maar tamancha, bail pe nikley, bail bech aaye

hum to kirkit ka balla chodo hum khel bech aaye.

Haaji maula Haaji maula Haaji maula, Haaji maula Haaji maula..

तार बिजली: Singer: (Padmashree) Sharda Sinha, Lyrics: Varun Grover (Mukhda from traditional/folk)

फॉर्मेट से शादी का गीत है. लेकिन शब्द पोलिटिकल हैं. ‘८० और ‘९० के दशक के बिहार की बिगड़ती दशा पर एक दुहाई है देश के ‘पालनहारों’ से कि ये क्या कर दिया ‘हमारे पिया’ के साथ. Surreal मान सकते हैं…कि ऐसा गीत अब इस फिल्म की दुनिया में लोकगीत बन गया है और शादी में गाया जा रहा है. और गाया है legendary शारदा सिन्हा जी ने. बहुत सालों बाद फिल्म संगीत में वापसी है उनके लिए यह.

Taar bijli se patley, humaare piya…(x2)

O ri saasu bata tuney yeh kya biya…(x2)

Sookh ke ho gaye hain chhuaare piya…(x2)

Bechaarey piya…

Sab haarey piya…

Kuchh khaatey nahin hain…

Kuchh khaatey nahin hain…humaarey piya

O ri saasu bata tuney yeh kya biya…

Taar bijli se patley humaare piya….

Kha dhatoora ji sutley humaare piya,

Maara dhakka na uthley dulaare piya, (x2)

O re bapu bata tuney yeh kya biya,

Yeh kya biya tuney yeh kya biya…

(chorus) Gulaabi Chachha…

Gulaabi Chachha ki kyaari mein kaanta bhara…

Na idhar na udhar hi sihaare piya…

Taar bijli se…

Ghupp andhera mein chaltey, dulaarey piya,

Ghupp andhera mein chaltey, dulaarey piya,

Jindagi kolbari, phoot paani bhara,

Aarra Chhapra ke Babuji yeh kya kiya?

Loknayak jalaaye yeh kaisa diya? (x2)

Bhaav koyla ke bik-lay dihaari piya…

Nihaari piya….Bihaari piya….

Maarey dukh ke ji phootey fuhaarey piya…

Haan fuhaare-fuhaarey-fuhaarey piya…

Taar bijli se patley, humaare piya…

Taar bijli se patley, humaare piya…

O ri saasu bata tuney yeh kya biya…

O ri saasu bata tuney yeh kya biya…

O ri bhauji bata tuney yeh kya biya…

O re Bapu bata tuney yeh kya biya…

O re Chacha bata tuney yeh kya biya…

Loknayak bata tuney yeh kya biya…

Jan-nayak bata tuney yeh kya biya…

Baba Saaheb bata tuney yeh kya biya…

Taar bijli se patle humaare piya…

इलेक्ट्रिक पिया: Singer: Rasika Rani, Lyrics: Varun Grover

यह गाना स्नेहा ने कैरिबियन में रिकार्ड किया. वहाँ वो चटनी म्युज़िक ढूँढने गयी थी और रसिका से मिली. इसका पूरा अरेंजमेंट चटनी है इसलिए शब्द भी fusion हैं. ‘तार बिजली’ को लोकगीत का surreal जामा पहनाने में भी यह गीत मदद करता है. फिल्म में यह गीत एक पार्टी में बज रहा है. मतलब एक ऐसी दुनिया है जहाँ यह (और ‘तार बिजली’) पहले से प्रचलित हैं. इसमें भी मर्म वही है…दुहाई है…लेकिन इसमें मूड एकदम अलग है. यह सत्ता के iron curtain के दूसरी तरफ खड़े लोगों का गीत है. ‘तार बिजली’ से ठीक उल्टा. (फिल्म देखेंगे तो पूरा subtext समझ आएगा.)

Electric piya…electric piya!

Taar bijli se patle humaare piya..

Arre taar taar taar…

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Ghar aate hain deri se, tutli hai road…

Road road road…arre tutli hai road…

Roj roj roj roj…

Baba-saaheb kathin kitna rasta diya,

Jan-Nayak re haalat kya khasta kiya,

Riding donkeys, my horse-rider piya…

Getting tangled in web of spider piya…

Electric piya…electric piya….

Electric piya…electric piya….

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

My loveless, and luck less, and messed-up piya…

Arre messed-up piya… Arre messed-up piya…

Aandhi-maata bata tuney yeh kya biya,

100-baras jeeney waale re yeh kya kiya,

Slipping out of my hands, humaarepiya,

Falling into quick-sands, humaare piya…

Electric piya…electric piya!

Taar bijli se patle humaare piya..

Arre taar taar taar…

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Growing up in a small colliery town in Dhanbad district, the first tax that i learnt about was called rangdaari tax. That was much before the “tax and debentures” chapter in school. As a kid it seemed fun. You demand and someone pays you. Also, everything was related and dictated by coal there. The two important trains to Calcutta, the closest metro town, were Coalfield Express and Black Diamond Express. With so much coal dust floating all around, all the trees in our area were black in colour. My aunts and relatives would even compare Dad’s dark complexion with coal mines to tease us when we were kids. (Similar emotions are there in a terrific song in part 2 of Gangs Of Wasseypur). Vishwakarma puja – celebration of God of architecture and engineering was a household thing. Have rarely seen that anywhere. Worshipping your bicycles and scooters!

The area had a local don called D N Singh. That rangdaari tax! And as filmy legends go, the guy was good at heart too. Donating generous amounts for Durga Puja and other local festivities. And had a filmy end too. With the posting of a new police chief, he was attacked and beaten up in the middle of the market on a broad day light and was literally stripped off his power.  Since Dad was posted as Welfare Officer there, we used to hear all kind of stories revolving around miners welfare. And film conversations with Dad or his friends meant someone will surely talk about Amitabh Bachchan starrer Kala Patthar. Everyone used to claim that it was shot in their area and they had seen its shooting. I never bothered to check where exactly it was shot. There is no fun in killing that joy of nostalgia with little bit of knowledge.

But Anurag Kashyap’s two-parter Gangs of Wasseypur is more than just nostalgia for me. Though i was happy that finally we have some new tales beyond the legend of Kala Patthar. We moved out of Dhanbad after Dad’s retirement but am going to call him and tell about a new film from the land of Bharat Coking Coal Limited (BCCL).

Gangs Of Wasseypur is quite an ambitious film in every possible way and Kashyap is in top form with his craft. He was never this good! To tame and deliver a beast of this epic proportion is a mammoth task.

I first saw the film when it was in edit. Still don’t have the talent to gauge the final film from its rough cut. Could figure out that individual scenes and humour was working. After that, me and some others have been pestering him to screen the film before he left for Cannes. And unlike others, he scores quite high there. Has no insecurity about showing his films, no matter what you think about it. I hated That Girl In Yellow Boots and wrote about it here.

Then a call at 1am.

Film dekhega? Dikhao. Kab se bol raha hoon.

Abhi dekhega? Abhi? Kahaan?

PVR aa ja. 10 min me. Kya? Haan. aa ja.

It started around 1:30 am and got over by 4:30 am or so. In an empty cinema hall with just 10-12 of us and Manoj Tiwari’s voice blasting in the early morning hours, my morning never started on such a high note. It was pure cinematic orgasm on big screen! Jiya ho bihar ke lala kept on playing in loop in my head.

I saw the film today again. The opening credits still looked the coolest in the B-town! It still felt bit long and indulgent. But as i have often believed and contradicted myself too – if filmmakers and artists don’t indulge, who will? My kiranawala? Finally it all depends on you – what indulgence by which artists you can connect to.

Piyush Mishra’s voiceover still sounds bad. The beginning is too hotchpotch. Too many characters criss-crossing each others paths and confusing at times. Hopefully we will put a family chart soon to have more clarity there.

But what an epic filmmaker’s masterclass is this!

With the terrific talents of Rajeev Ravi and Wasiq Khan, Kashyap has managed to create a whole new world all together. A world where men are beasts but are stripped down to their bare minimum and are eyed and hunted by the womaniyas! I don’t remember seeing a Gang leader in his underwear and eyed by the woman in any film. Or when they need to take permishan to even touch the girl. Playing with gangs and guns but tears roll down when denied permishan. There are many such cinematic kinks, flavours and reasons why this film by Kashyap stands out easily. And like others, he doesn’t even claim to write strong female characters.

The humour is distinct like in any other Kashyap film. I still laugh thinking about that No Smoking scene – tum ja rahe ho? Tum aa rahi ho? Main aa rahi hoon. Main ja raha hoon. Here, a woman in labour pain while delivering the baby gets you a chuckle. Or an impromptu race between two people after a loot, when the older person shouts out hum phirst, hum phirst. I am not going to write about the rest and spoil it for you. You will be left wondering about them because these are people from a different world that we have never seen on our screen.

Now, I guess everyone knows that GoW i’s a revenge saga spanning across few generations in the backdrop of coal mafia. Having seen both the parts, what i can tell you is that the first part takes time to set up as everyone is doomed and is busy sowing the seeds for their ends, either with love or hate. 2nd part is more action, more drama and more revenge. First is like wine, you can’t treat it like junk food. You need time to savour it. There’s no takeaway from it. In the business of guns and groins, coal is just the excuse. Enjoy it till it lasts. Kyunki yahan last me kuch nahi hota hai! Because the beginning is the end. Kyunki Saans Bhi Kabhi Bahu Thi – That’s it! And in that way it’s unlike other desi films we see these days. So even in your viewing, you can’t treat it like any other film – start, beginning and end!

Nothing makes me more cringe that seeing a bad scene on screen. That breakdown scene by Kumud Mishra in TGIYB still haunts me because it’s atrociously bad. In Gangs Of Wasseypur, you can’t point a single scene which is badly acted or directed. The actors, each one of them, from the main lead (Manoj Bajpayee, Tigmanshu Dhulia, Nawazuddin, Richha Chaddha, Jaideep Ahlawat, Piyush Mishra, Jameel Khan, Huma Quereshi, Reema Sen and rest) to the extras, they all make it look so real. They don’t act, they *are* the characters. Once inside their world, you forget the real world that you belong to – that’s a rare achievement. But my favourite is Pankaj Tripathy. He has such a strong presence and am happy that he finally gets his due.

But it would have been better if it was bit shorter, no?

Why only shorter, it should have been just one film. Right.

And if there was no voice-over in the beginning. True.

And would have been better without all that history of Bihar and Jharkhand.

It’s also so self indulgent!

And you don’t emotionally connect with the characters.

May be then it would have been my film and not a film by Anurag Kashyap. Having seen all his film in the last few years, i have made peace with his art and craft. You can’t beat him in craft and in the budget that he delivers, it’s almost impossible. As for his art, it’s not easy to digest. It’s never going to be your regular fare. And i hope it remains that way. Once in a while I like being restless. There’s a thrill in getting out of your comfort zone and figuring out things in the dark – where the wild things are! It’s time you do the same. It will take some time but you will get used to it. If you can afford, why should your cinema be just for escapism? And if you are worried, don’t think because we have enough Imtiaz Alis and Raj Kumar Hiranis to take us back to those comfort zones.

(Update – I hate it when people like a film but forget to mention the writing credits. And i just did the same. So here it is – Zeishan Quadri, Akhilesh, Sachin Ladia and AK.  This is via wiki, so am not sure about the right credits. Deadly lyrics by Varun Grover and Piyush Mishra & Music – Sneha Khanwalkar. Background –  G V Prakash. And all of them contribute immensely to this experience)

This barter of bloody blows will make you cry, you’ll know my name when I fuck you dry.

There have been a lot of requests for the translations for Gangs of Wasseypur lyrics ( Written by apna Varun Grover and Piyush Mishra). So here are the ‘adaptions’ of the lyrics in English (as the team would like to call it).

English adaptations by:  Renuka Kunzru, Neeraj Ghaywan, and Varun Grover.

Renuka Kunzru (with Neeraj Ghaywan) has done the subtitling of both the parts of Gangs of Wasseypur and you have seen her in a cameo in ‘Jaane Tu Ya Jaane Na’. She’s the girl (Mala) at the airport the friends’ gang narrates the love story of Jai and Aditi to.


(Lyrics: Piyush Mishra)
Ek bagal mein chand hoga, ek bagal mein rotiyan  I dream of a bejeweled moon, some warm bread,
Ek bagal mein neend hogi, ek bagal mein loriyan  I dream of gentle sleep, and a lullaby in my head.
Hum chaand pe, roti ki chaadar, daal kar so jayenge Dear moon, I’ll cover you with my bread warm
Aur neend se keh denge lori kal sunane aynege And soon, dear sleep, I will sing thee my song.
Ek bagal mein khankhanati seepiyan ho jayngi | My dream sees shells bobbing,
Ek bagal mein kuch rulati sisikiyan ho jayengi  | My dream hears muffled sobbing…
Hum seepiyon mein bhar ke saare tare chu ke aayenge | So I’ll ride my shells to my dream,
Aur siskiyon ko gudgudi kar kar key un bahlayenge |and tickle my tears till they beam.
Amma teri siskiyon pe koi rone aayega | Fear not, mother, your plight will not go unwept
Gham na kar jo ayega  woh phir kabhi naa jayega |The friendly shoulder will stay, and your tears will be kept.
Yaad rakh par koi anhoni nahin tu layegi | But dearest mother, just wish for no doom,
Layegi t phir kahani aur kuch ho jayegi  | Or my simple dream, will be my tomb.
Honi aur anhoni ki parwah kisie hai  meri jaan | Not that I fear ill luck or a doomed end
Hadh se jyaada ye hi hoga hum yahin mar jayenge  | If the worst is death, he is an old friend.
Hum maut ko sapna bata kar , uth khade honge yahin| I guess I’ll charm death with my dream-like riddle
Aur honi ko thenga dikha kar  khil khilate jayenge | And con fate,  with a wink and a giggle

2. Womaniya

(Lyrics: Varun Grover)

Taare jo babuna, tarti babuni | He ogles, stares and waits
Babuna ke hathe na chadti babuni | While she teases, taunts and baits.
Maange jo babuna prem nisaniya | He asks, ‘A loving bite on my chin, dear?’
Bole jo thodi, kattti ho kaniya | So she leans over and nibbles his ear.
Badle rupaya ke dena chawaniya | She gives him a quarter if he asks for a rupee
Saiyaan ji jhapte to ho na hiraniyan | And when he lunges, she flees like a flea
Rah rah ke maange choli bataniyan | Don’t let him play with your buttons, it’s a trick;
Jee mey lukaaye lot lotaniyan | The innocent game will end on his prick

Chaahe muh-jhaunsa jab haath sikaniya | When the bastard tries to warm his hands,
Kandha mein dena ji daant bhukaniya | Play along and bite his shoulder
 Bolega babuna, chal jai-ho Patna, | The fiancé will offer you a ride to Patna,
Patna bahaane wo chaahega satna, | And will see this as a chance to get close…
Dai-ho na pahuna ko ticket kataniya… | Don’t go all the way (to Patna) with him..
Patna naa jaana chaahe jaana Sivaniya… | Go only up to (Distt.) Sivan, dear.


(Lyrics: Piyush Mishra)

Ras bheege saude ka ye, khooni anjam teri keh ke loonga | This barter of bloody blows will make you cry,
Teri keh ke loonga  | you’ll know my name when I fuck you dry
Khanjar se doodh gire yaan, ho katle aam teri keh ke loonga | Sweet milk or blood my dagger shall reap
Teri keh ke loonga (2) | You’ll know my name when I fuck you deep
Saason ko saanp sunghan ke, jangli til chatta la ke, keh ke loonga | I’m a  scorpion’s kiss, a toxic lullaby at night
Bichu se hoth katta ke, lori jahreeli gaa ke keh ke looonga | It is I, sir, that has fucked you right.
Panghat ko bechunga main, mar mar ghat ke daam teri keh ke loonga |  Your fancy estate, I’ll sell at a graveyard’s price. Ain’t I nice, I just fucked you twice.
Khuli ho sadke, tambu thane chahe mil vil ho ya baaz mekhkama, mekhamaa aaaa | Hit the road, find a remote hut, prison or fort,
Jisme bachna ho bach le, yee, jisme bachna ho bach le, bach meri jaan teri keh ke loonga | Hide, take cover, run, my man, run, I’ll still fuck you, just for fun!


(Lyrics: Varun Grover)

Jiya ho bihar ke laal, | Long live, Son of Bihar…
jiya tu hajaar saal, |  May you live a thousand years
Tani naachi ke, tani gaayi ke, | So sing and dance
Tani naachi gaayi, sabke mann behlaava re bhaiyya…| May you always sing and dance and make us smile, son.
Tu maati ka laal re laala, Bhaiyya-3| You’re the son of the soil, dear son…
Tohra magahi saan niraala,Bhaiyya-3 | May every breath you take be as majestic as this royal state, dear son…
Tere purkhey jiye andhera,aur tuney jana ujaala…| Your ancestors lived in darkness, but with you, may light be born, my son
Tere god pakhaarey ganga, tere tej se aag jhulasta |May the Holy Ganges keep washing your feet,  I pray that your aura be fiercer than even fire
Tere kandhey chadh ke sooraj, aakas mein roj pahunchta…|May your shoulders be so mighty, my son, that the sun rises by standing over them
Jiyaa tu honhaaaaaaar….| Aren’t you my good son, dear son?
Tani ghoom-ghaam ke, tani dhoomdhaam se…May everyone dance, rejoice and celebrate…
Tani taan kheench ke, taansen, kehlaawa re bhaiyya…. and open their hearts and sing to the skies.
Tani naachi gaayi sabke mann behlawa re bhaiyya,May you always sing and dance  and make us smile, son.
Tani neeke-neeke bol pe geet sunaava re bhaiyya…Tani teekhe-teekhe bol pe dhol bajaawa re bhaiyya…May your sweet words turn into songs…
Tani jhaal utha ke, taal se taal milaava re bhaiyya…may your sharp words turn  into drum beats.
Tani dholak, maandar, matka, chammach, laava re bhaiyya…Pick up any instrument and  join the others …And let the melody flow.
Tani oka-boka-teen-tadoka…
Tani chandan-maati-chauka-kaathi…
Tani oka-boka-teen-tadoka gaava re bhaiyya..We wait for your crazy music…
Tani chandan-maati-chauka-kaathi laava re bhaiyya…we know you will bring us light.
Tani saans fula ke phoonk se dhool udaava re bhaiyya, Only your mighty breath can blow the dust off our lives.
Tani jaan jala ke geet ke tel pilaava re bhaiyya...Only you can re-light our dying lamp.

5.     Bhoos ke dher mein 

(Lyrics: Varun Grover)

Bhoos ke dher mein raai ka daana, | Like looking for a pin in a haystack,
Rang biranga bail sayaana, | Like spotting a smart, colorful buffalo,
Bhoos ke dher mein raai ka daana,
Rang biranga bail sayaana,
Dooje pahar mein toot-ta taara, | Like seeing a falling star mid-afternoon,
Paani pe tirta pakka paara… | Like having mercury float on water…
Naa milihey…| You won’t find it…
Naa milihey…naa…| Won’t find…
Na soch, Na khoj, | Don’t even think, Or try…
Ud jayi-ho, jag hai toap…| The world will vanish like a cannon…
Hai kohra rakh sab haath taan, | It’s vague ahead, so stick your hands out…
Imaan na dayi-ho hili-hey…| Just don’t let your faith wither…
Naa milihey…
Naa milihey…naa…
Naa milihey…
Naa milihey…naa…
Batiyaati haathon ki lakeera, | Like fate talking without ambiguity,
Mahal duwaarey, khada fakeera…| Like an ascetic waiting at a palace gate…
Ghaath laga le, Raat jaga le, | By hook or by crook,
Suruj ka sab ghoda bhaga le, baba..| Or by capturing the horses of Sun,
Dhar le chaahe bhoot ki dhoti, | Or by latching on to the ghost’s fabric,
Paa le ashwathhama ka moti, | Or by acquiring the mythical pearl of eternity,
Paani mein…

Paani mein, maati mein, | Or in water or mud,
Loha mein, kaathi mein, | Or in iron or wood,
Jiya ke jod mein, aankhan ki paati mein… | Or in the joint of hearts or crack of eyes,
Aakaas khuley mein, mann ki gaanthi mein…| Or in the vast skies or closed minds…
 Naa… Not a chance!
Batiyaati haathon ki lakeera, | Like fate talking without ambiguity,
Mahal duwaarey, khada fakeera…| Like an ascetic waiting at a palace gate…
Bhari dupahari naachey mayura, | Like a peacock dancing in blazing sun,
Yam se chatur, gaanv ka moora….| Like a village idiot more wicked than the Devil…
Na milihey… You won’t find it.
Hai kohra rakh sab haath taan,
Imaan na dayi-ho hili-hey…
Naa milihey…
Naa milihey…naa…
Naa milihey…
Naa milihey…naa…

6.     Humni Ke…

(Lyrics: Folk/Traditional)

Humni ke chhori ke nagariya ae baba… You have abandoned us, father,
Ki arre baba chhori dihala ghar-parivaar kahun banwa maayi gayili ho…| You have forsaken your town and family,
Ki aaho baba soooni kayi ke gharwa-duvaar, kawan banwa maayi gayili ho, | And now the empty walls of our home echo with loneliness, just like dear mother’s heart
Gaunwaan ke logawa, kehu…kehu se na bolein..|The little one refuses to speak to anyone,
Chhotaka laikawaa, bhora-hi se aankh nahin kholey..|He even refuses to see the morning sun…
Sunsaan bhaiyili dagariya ae baba…|Every road, every possible way is deserted, father,
Ki arre baba nimiya ho gayil patjhaar, kawan banwa maayi gayili ho..| Even the family tree has slipped into a long winter, much like dear mother’s heart.
Kaisa-hoo ae baba, humaraa maayi se milaa da | Father, bring our mother back…
Saparo tajaa ke humro araj sunaa da…| Only you can convey our message to her far away ears.
Chhutka ke chhote-ba umiriya re baba..| I implore you for the sake of the little boy and his tiny life,
Ki arre baba, pari lin hum pauwwaan tohaar kawan banwa maayi gayi li ho..| I do beg you, father, please bring his mother back.
Ki aaho baba soooni kayi ke anganwa-duvaar, kawan banwa maayi gayili ho, | For you have deserted us father, And made our home an empty shell, much like dear mother’s heart. 

If you have been following this blog for sometime, you will know that music review means it’s time for Rohit to take over. So over to him. But before you read the review, you can check out all the songs here.

Also, click here to read our earlier post in which lyricist Varun Grover introduced the two hit songs of the album – jiya ho Bihar ke lala and I am a hunter, the foot-tapping and fun song, which i feel, is dying to have a music video. Mr Kashyap, do it. The song has great potential. You are sitting on a goldmine. Explore it!

The post also has lyrics of six songs – Jiya ho Bihar ke lala, I am a hunter, Ek bagal, Keh ke loonga, O Womania and Humne ke chhori ke.

Back to the music review.

Music – Sneha Khanwalkar

Lyrics – Varun Grover, Piyush Mishra

इतना दिन से इन्तेज़ार था. पूरा उत्तर प्रदेश और बिहार में लोग बाग कोई गाना नहीं सुन रहे थे. चलो ज़रा देखें ससुरा इन्तेज़ार के लायक था या नहीं?

1. Jiya ho Bihar – The song starts with faint ‘thaaps’ as if a traditional song but soon is joined by electric guitars and then the techno arrangement leads us to the very desi Manoj Tiwari. The song makes no bones, thanks to excellent Manoj Tiwari and some real catchy lyrics (Tani Taan kheech ke taansen kehlawo rey bhaiyya, for example). The backup vocals are excellent. Somewhere in the background you will hear shehnai as well. Yes. The marriage of techno sound with Manoj Tiwari is just brilliant. There is a constant ‘bhaiyya bhaiyya’ in the background! Just too good a touch!

There is always that song from which you associate a movie, This one will be the image of Gangs of Wasseypur).

If interested, you can get the lyrics here.

2. I am a hunter – (पापी लोग का नाम है – वेदेश सोकू, मुन्ना ओर रजनीश) The song starts with a ‘Heyllllo’(and TRUST ME!, you will repeat the ‘heylllo’ to hear if it is actually said the way it is said) and then something that we all have done while growing up! (Listen and tell me if you can find it, not telling it here). Special mention must be made for Sneha. This is a fun song and trust me, the song has 2 funny moments per second. Be it the laughter in the background, be it the interplay between vocals along with the constant Caribbean beats the song has ‘fun’ written all over it. Yes, it’s a tad naughty. Still, the words like ‘bhokali’ will ensure that this is played by guys (And girls, may be!) in bonfires. Yes. Up till now Patti rap was THE song that got guys (and sometimes girls together) in a gathering. Now, that place belongs, rightfully to ‘I am a hunter’. Best.Bakchod.Song.Ever.

You can check out the lyrics of the song here.

3. O Womaniya Live (Performed by – Khushboo Raj, Rekha Jha ओर उनकी सहेलिया) Singers start this song in a way that will remind the people who have grown up in north India, those ‘sangeet’ settings that happen during marriages wherein the ‘ladies’ (pronounced as – lay-deej) sing and poke fun at the new bride or may be her ‘in laws’ or may be her ‘bridegroom’. The words are pure ‘North’ and are laced with lot of fun (and naughty-ness). People who will have tough time trying to find the meaning of the songs will get the ‘fun quotient’ when the backup vocal singers will go ‘o o o ho ho ho’ Very naughty! The music setting is very ‘drawing room’ like and even when backup singers giggle you get the feel that they are sharing a joke! Singing is just incidental to the setting. Kudos Sneha! Kudos for reading this very rare, Very, very rare genre. The words of this song in particular have a flavor of north. Big time. Varun Grover, take a bow! Also the singer will remind you of that one character in such family settings who is the ‘leader’ and repeats certain words in order to poke fun at the bride, डबल अर्थ wala fun. (case in context – Patna and satna. ‘Satna’ means when someone sits uncomfortably close to someone else)

4. Keh ke loonga – Night. That’s what the ‘itchy’ start of this song reminds you of. Sneha gets behind the microphone and gets on with it. Accompanied by Amit Trivedi, the ‘graveyard’ feeling of the song gets scarier when the intentions are reflected in words. No matter where you are, I will dig you up and ‘teri keh ke loonga’. It has a very ‘Ghar mein ghus ke maroonga’ feel. Still, it’s not loud. The song just stares at you with the coldness of a dead body. We need Sneha Khanwalkar to sing more. Much more. Much, much more. She is THAT good in the song. Composed by Piyush Mishra and arranged by Sneha. Amit Trivedi is in his usual brilliant self! The resonating sound of howling might not be liked by all. Dark. Scary. This sums up the song.

5. Bhoos ke dher mein – Manish J. Tipu and Bhupesh start the song and will actually lead you into believing that it’s a sad song. Suddenly, an ‘all male’ group of backup singers (accompanied by harmonium and brass band), get into your ears shouting ‘Na milihey’ (you shall not get). This song has a message. More like the songs that you associate with the wanderers who gives out message about life in their songs. The difference? There are way too many singers (and at times a barking dog in the background if I heard it right!). Situational song. Has a very ‘chadhta suraj dheerey dheerey dhalta hai dhal jayega’ (A qawwali-sque song by Aziz Naza, very popular up North). Won’t be a chartbuster. May be that’s exactly what is needed. Let’s see.

6. Ek Bagal – Flute and Sitar talk between themselves and put you at ease immediately and then the strong bass creates a perfect platform for Piyush Mishra (PM) to start what is probably the most powerful song (in terms of effect that it will leave on you) of the film. The excellent use of electric flute deserves a repeat mention. It is THAT good. There is no doubt that this song is penned by PM himself and composed by him as well. The song has a little ‘jis raat sheher mein khoon ki baarish aayi thee’ feel in between. I suspect this song will find a place in the second part of the film as well. Minimalistic ‘arranged’ music. Authentic is the word. 2 thumbs up!

For lyrics, click here.

7. Bhaiyya – This track, performed by the musahars of Sundapur, is another avtaar of a folk song but is music heavy. My guess, this is a background song again. It ends too soon. Didn’t touch me. May be you will like it.

8. Tain Tain – A good harmonium along with at least 10 other sounds suddenly start this song. Then it all settles down. The beat continues and so does a siren! And then Sneha Khanwalkar goes ‘tey tey tey’. Before you figure out what’s happening, the brass band arrests your attention! Ok, too much happening at the same time! This has to be a background sound. This track is just a mix of a lot of sounds (whistles, vocal ‘ta ta ta chu chu ley ley lu li’ and so much more!). Remember the track ‘dol dol’ from ‘Yuva’? This track, in principal is the same, BUT is very DESI. This track grow on you and somehow satisfies the ‘constant casio synthesizer beats wali bhookh’ in me.

9. Suna kar ke Gharwa – performed by Sujeet (From Gaya ओर उनके दोस्त भाई लोग). The song uses a slow tabla and ‘manjeera’. Very folk. But too short. सब लोगों को नही समझ आएगा. It has a sound of a ‘folk singer’ closing his eyes as he connects with self and the powers that be via his singing.

10. Aey Jawanon – Yes, some shayari. Some ‘UP-Bihar’ style shayari about how people are selfish. The stop-and-go and stop-and-run music arrangement completely reminds a ‘northie’ like me of the roadside ‘nautanki’ music. To you, it might remind of ‘pintya gela’ (from shaitaan) in essence, because the instruments used are completely different but the linear tune is somewhat ‘pintya gela’ like.

11. Womaniya (Remix) – Starts exactly like the ‘live’ version but the bass and trance effects soon take over. Something that I haven’t heard ever. Something Desi…real wala desi mixed with ‘mehengai dayan’ like remix (from Peepli Live). The naughty feel of the song is retained. At times I felt some excessive instruments were used but I won’t be surprised if this is played in pubs and people go ‘OMG OMG’! There is a brief romantic exchange of words between shehnai and electric guitar…Just too damn good! मुहझौंसा and what not! This remix grew on me!

The pronunciation of ‘womaniya’ as ऊमनिया is just too adorable (in both the versions)

12. Mann Mauji – Probably one of the best romantic songs this year. Iktaara, algoza and so many other beautiful sounds along with the singer Usari Banerjee is a touch of pure genius. Even the singing style has a touch of vintage in it! ‘Khula hai bajuband phata hai kaaj sambhal ke chalna hoga’. Composed and penned by Piyush Mishra, arranged excellently by Sneha, this song has a sweet vintage feel. Hear it. The ‘secondary vocal’ (at times algoza, at times violin) that constantly accompanies the singer is so so so vintage. Brings back the days of कुएँ के किनारे गाना और नाचना.

13. Loonga loonga (Remix) – The roadside shayari about life (Along with constant beats and ‘loonga loonga’ in the background) starts the song. A faint ‘siren’ (The one that you associate with IPL when a bowler bowls a No-ball and free hit is about to be executed. This is a short version and thankfully so, because the music arrangement and the overall sound of this song is in contrast to the theme of the album. Passable.

14. Humni ki chhoree ke – (Sung by Deepak Kumar – मुजफ्फरपुर वाले) – With just the harmonium and very पक्का ओर रिसा हुआ गला the singer gives us a flavor of a very, very touching song. It’s a folk bhojpuri song and many a singers have sung it already. We could come across Pawan Singh and few others (Check them out on youtube) but this version, with minimalistic music arrangement, has everything that will make you very sad, lump in throat stuff. Even if you don’t understand the meaning of it. Magic of good music, isn’t it? Highly recommended!

Overall a fantastic album! The music stays true to the overalls of the film. Even though 2 remixes are included (to make the album appeal to the ‘non small town’ पब्लिक) फिर भी, This will go down as a फसाद मचाने वाला album by Sneha Khanwalkar and Piyush Mishra. Comparisons will be made with the OST of Omkara, Dev D, Gulaal and so on, but this album will stand it’s ground. Quite easily.

The backdrop is more or less same (in terms of geography), so the sound influences could overlap. Still, inclusion of some pure folk songs of the region is a superb idea and makes the album more relatable. The effort in terms of penning the right lyrics (Piyush Mishra, Varun Grover and Vikas (for hunter – english lyrics), arranging and composing music (Piyush Mishra and Sneha Khanwalkar), singers and the sheer research about it all is praiseworthy.

Rough around edges, raw and melodious in equal measure, here is an unputdownable power album that deserves a listen.

In the days of ch**** Studio (इंडिया) and all those wannabe ‘EXPERIMENTAL page 3 types’, here is an album that gives you a sound and taste of what the sound of those places is like. Those places are called ‘Chowk’ in small towns – an open market area in a city at the junction of two roads.

Chowk Studio. Anyone?

वूफेर फाड़ दिया भैय्या!

My Picks – Entire album.

माने की पूरा एल्बमवा सुनियेगा एक बार. चीन जायेंगे आप, की हम का कह रहे हैं.

(PS – You can order the album on Flipkart also. click here.)

Ah, finally. The way Viacom18, the producer of Gangs of Wasseypur, was reluctant to share even on location images of the film after the Cannes announcement, we were thinking if they were going to lay some golden eggs.

The trailer, poster and the official synopsis of the film is finally out. Let’s go one by one. First, the trailer.

Loot, coal mines, volatile people in volatile land, zindagi ka ek-e maksad – badla, jail, chop shop, Tishu, Bihar ke lala, cuss words, Richa attacking the same man who has been killing everyone, sex, goggles-wala-pyaar, dhoom-dhaam, more cuss words, more earthy and punchy dialogues, more abuses and some more dhaam-dhaam. And everything is inherited! E toh poora ka poora dabang haiabki badke Kashyap ki baari.

But why is the text font so bland? Bad font always bores me.

As far as the trailer goes, this is as mainstream as it can be. But i think the trailer serves more masala than the film will offer. Might be wrong. But Kashyap without his indulgences? Jiyo o Bihar ke lala. The trailer doesn’t tell you much about the film but it gives the ambiance and the mood of the film and tells you what to expect – you connect the dots. And if you can’t, scroll down for the synopsis.

My fav bit – Pankaj Tripathy. Bahut-e kamaal ke actor hai. Agle Yashpal Sharma hai jo hame bahut-ey pasand hai.

Now, the poster.

Superb art work. Like the colours and the treatment. But why such a bad finish? The film posters on the right and left hand side looks so weird. As if at the last moment they asked some intern to put two posters. Just doesn’t gel with the rest.

And now the official synopsis…

Towards the end of colonial India, Shahid Khan loots the British trains, impersonating the legendary Sultana Daku. Now outcast, Shahid becomes a worker at Ramadhir Singh’s colliery, only to spur a revenge battle that passes on to generations. At the turn of the decade, Shahid’s son, the philandering Sardar Khan vows to get his father’s honor back, becoming the most feared man of Wasseypur. In contemporary times, the weed addicted grandson, Faizal Khan, wakes up to this vengeance that his family has inherited. Staying true to its real life influences, the film explores this revenge saga through the socio-political dynamic in erstwhile Bihar (North India), in the coal and scrap trade mafia of Wasseypur, through the imprudence of a place obsessed with mainstream ‘Bollywood’ cinema.

The film stars Manoj Bajpai, Nawazuddin Siddiqui, Jaideep Ahlawat, Tigmanshu Dhulia, Aditya Kumar, Reemma Sen, Richa Chadda, Huma Qureshi, Piyush Mishra and Syed Zeeshan Qadri.

A new trailer of debutant Karan Malhotra’s Agneepath has just released. Produced by Karan Johar, this film is an official remake of Mukul Anand’s Agneepath and stars Hrithik Roshan, Sanjay Dutt, Priyanka Chopra and Rishi Kapoor. Take a look.

And here are few observations…

1. This doesn’t look like the usual KJo film. And that’s a a good start. Dongri? I am not sure if any of the characters from any KJo production ever knew that a place called Dongri exist. Good to see that Dharma Productions is exploring beyond SoBo.

2. Dialogues by Piyush Mishra. Great.

3. Music by Ajay-Atul. The music director duo started with Marathi films and quickly made their mark. Again, good decision to go with Ajay-Atul instead of the usual suspects – Shankar,Ehsaan, Loy or Vishal-Shekhar.

4. More roles for actors like Brijendra Kala and Pankaj Tripathi (is that him in the opening scene?) makes me feel that we are going in right direction.

Forget Salman Khan, even Fatema Kagalwala is on a roll. One day, two posts. Click here to read her hilarious dissection of Bodyguard, and scroll down to read her post on Anurag Kashyap’s latest release, That Girl In Yellow Boots.

Seedy is not Mumbai’s underbelly, it is the defining aspect of its identity. In this quagmire is a young girl struggling to survive. An English citizen in a strange city, she is but twenty years old. At a time when most of us our dreaming of building fancy careers, watching our weight, worrying about skin/hair problems while striving to date that hot bod, she is fighting to stay afloat in the dense-ness of red tape and sexual exploitation.

She is Ruth, Anurag Kashyap’s protagonist in his latest film, ‘That Girl in Yellow Boots’. She is as vulnerable as she is steely and as undaunted as she is brittle. She meets exploitation at every corner, simply because she is young, female, single and white-skinned. She is looking for her father who abandoned her when she was five. There is darkness everywhere she turns and she buys some light with the money she earns by giving massages and handjobs to willing customers, what she ironically calls, ‘happy endings’. As the official synopsis reads ‘everyone wants a piece of her’, and she obliges – if it will lead her to father.

Anurag Kashyap lays it out thick. Grime, blood, sweat and semen. Loss, pain, failures and trauma. Darkness is no stranger to the film-maker, his oeuvre almost revels in it. He always says it as it is, sometimes even too much. But TGYIB doesn’t suffer from over-doing. Ruth’s world is murky and steeped in pain but there is spirit in her struggle. Her existence seems doomed but there is assurance in her steps. There is an emptiness in her eyes and a desperation in her heart but her mind is focused. She is love-less but not lost. She is gathered and determined.

So is the narrative. It follows its story with focus even though it becomes unstructured and loose at times. It doesn’t give into impulsive cinematic expressions at the cost of her character’s journey and that seems to be symptomatic of a creative evolution of the maker. For that alone, this can be called a notable film.

This time round there is no shying away from emotions. There is no uncomfortable distance from vulnerability and neediness is not wrong. There is a unique objectivity which is a hallmark frame of reference with Anurag Kashyap’s films, something that made Black Friday the classic it is. Along with this objectivity there was also apparent a seeming reluctance to engage emotionally with the character. Hence Dev simply remained a lost drunkard, Chanda an unapologetic fighter and Paro’s vulnerability never found the sure footing to blossom enough.

But Ruth is not like that. She is almost life and blood. I say almost because she falls prey to a lot of unsure moments in the film which keep her from blossoming fully. Her interactions with her boyfriend seem half-heartedly performed and the fault does not lie with the protagonist but the choreography and uncultivated chemistry between actors. Her denouement is not intense enough but while she is on unsure ground she is also explored from more ways than one. However, she is not sentimentalised and therein lies the strength of the film. Wouldn’t that have simply undone the very premise of her character?

Kashyap employs child abuse as a prominent theme, perhaps to enforce yet another layer of brutality to the already dismal world of the film. But this he juxtaposes with a fatherly figure, Ruth’s only male massage customer who is affectionate to her without objectifying her. Female strength finds yet another towering personification in the massage parlour owner, Maya (A brilliant, effortless and sparklingly honest Puja Sarup). Their identification and subsequent bond speaks volumes about the opposing forces of exploitation and survival.

Cinematic elements come together in harmony to tell the story of Ruth’s journey. Even as Rajiv Ravi’s digital camera caresses Ruth’s dismal life with an expressive graininess, Wasiq Khan’s seamless production design melts grunge with the dullness of the ordinary. We notice the torn beige sofa and the darkly-lit, narrow parlour lounge almost becoming metaphors of Ruth’s dislocated life.

In the pursuit of defining its protagonist’s journey, the film however fails it’s peripheral characters. Shiv Subramaniam, Mushtaq Khan, Divya Jagdale, Makrand Deshpande, Piyush Mishra, all remain mere tools of the exploitative environment without completing an experience. This singularity becomes representative and seems forced and has much to do with broad-stroked writing, seeming to take the ‘easy’ way out.

There is also the sketchily written character of Kannadiga ganglord Chitiappa explosively performed by Gulshan Devaiah, easily the star of the film. He settles in instantly and shines through till the end, effortlessly balancing the Nana Patekar-esque eccentric stereotype with the defencelessness of a school boy. This balance is what Prashant Prakash never gets right unfortunately. His see-sawing volatile character had immense scope to capture a spectrum of moods, emotions, swings and even personalities but he never really manages to get under our skin.

The film begins on an unsure footing, taking us slowly into Ruth’s world, introducing it through her encounters. Dialogues are many a times listless, almost murdering moments. Improvisation shows in the body language of actors and sync sound catches the uncertain intonations of lines made up on the spur of the moment. For a film crafted to evoke a response beyond the intellectual and focused on following Ruth’s path to her father, this serves as an undoing.

The film largely works because of its choice of actors. Kalki’s oval-faced innocence, a full-mouth unable to hide the Bugs Bunny teeth and the clear sad eyes looking at you become synonymous with Ruth right from the beginning. The actress wears her character unlike any other she has done before, and it is this certain ‘giving up to the character’ that one senses, which becomes the most appealing. We never cry with her or hurt for her but somewhere the film convinces us to feel enough for her to know what will happen to her and silently wish her well. As a takeaway, that is big.

Luis Bunuel said – “Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.” Team TGYIB uses theirs very well to give us a world that is precisely between chance and mystery. 

The first look of (new) Agneepath is finally out. Produced by Karan Johar and directed by debutant Karan Malhotra, it stars Hrithik Roshan, Sanjay Dutta, Rishi Kapoor and Priyanka Chopra. Credits include Adapted Screenplay – Ila Datta & Karan Malhotra, Music – Ajay-Atul, Dialogues – Piyush Mishra and Lyrics – Amitabh Bhattacharya.

Interestingly it’s not an exact remake but more of an adaptation. Looks like high intensity drama on big scale and full of colours. And unlike any other KJo Productions. Well, that’s a good start. The only thing not working in the trailer is the logo of Dharma Productions and that weird background music with it. Dear KJo, now get rid of it. Enough of emotional attachment.

Its that time of the year when we love making those lists. The best, the worst and the top ten. We sat down with some of our favourite music in non-stop loop and made our list of the good, the bad and fuglies. Whatever caught our attention, from every possible extreme. 

1. Ripley’s Believe It Or Not – We had Himesh Reshammiya in non-stop loop! He had Rekha Bhardwaj for company, but this Himesh is all new. Check it out, if you still havent!

2. Cuss Word Converter – Give a cuss word to him and it will never be the same again. The reason why Gul-still-Czar! Add Vishal’s vocals and you have the best title song of the year! Meri aarzoo kamini, mere khwab bhi kaminey, ek dil se dosti thi, yeh huzoor bhi kaminey!

3. Whats In  a Name Song – Earlier they had no names. It was kabootar ja ja ja and atriya pe lotan kabutar re! Rahman and Prasoon Joshi made sure that we all googled Masakalli. And you are still wondering whats in a name, that too of a dove!

4. Religion Converter Song – It seems that A R Rahman is hell bent on making sure that we go for religion conversion soon. First it was Piya haaji ali, then Khwaja mere khwaja and this year he gave us Arziyaan. If I ever convert, blame it on Rahman, only Rahman. For cheap thrills, we still try to count the number of times “maula” is there in the song. Whats your count ?

5. Killer One Song  – Shankar Ehsaan Loy had the complete album, Amit Trivedi killed them with just ek gaana called ek taara!

6. New Genrae – Piyush Mishra invented a new genrae of mujra, polticial mujra!  Jaise door desh ke tower me ghus jaye re  aeroplane. Gulaal. Now our only worry is if he can be denied USA visa for putting 9/11 in a mujra

7. Legends Should Retire – Dont attack us! But if this is what we get, legends should remain as legends. Illayaraja’s music did little for Cheeni Kum and it was the same for Paa. Except the theme tune nothing worked in Paa. The udi mudi judi or whatever it is, doesnt stay even for few seconds! or May be legends should never work with their fanboys!

8. Song ONLY for the Big Screen – It proved us wrong. Dhan tedan! Its only for the big screen, in a dark theatre. We saw it once. We went again. Watching it on tv, we were wondering why has Vishal shot a song inside a nightclub in such unimaginative way. We saw it on the big screen and ate all our words, twice!

9. Musical Aag of The Year – Is Ashutosh Gowariker’s music sense complete zero ? Was it all Rahman ? Like his film, the music CD was quite a fat one packed with 13 forgettable songs! And shot in similar way! Is this the same man who shot yeh jo desh hai tera & khwaja mere khwaja ?

10. Music That Was Hit in Fantasyland – The album was hit in twittosphere but shit otherwise. Aladin. The cast and the crew went on overdrive with their tweets but as Time Out’s Nandini Ramnathan wrote, it was all gone in sixty seconds!

11. Vishal Dadlani must be the only rock-star who writes nursery rhymes. Have you heard the “hey baby, you may be” whatever shit it is! But he can put his vocals to great use. Kurbaan hua had our Rocky in full throttle!

12. No Pun Intended SongPocket me rocket hai, pocket me. As a friend said, it sounds like a great jingle for sex toys.

13. Cheap-est Thrill-est Song – Only for Adults! Bold and bitchy! Dev D. Courtesy lyricist Amitabh Bhattacharya. Pyaar, emosanal atyachaar, bitch and (w)hooooore – all at one go!

14.  Best Installation Art in a song – Chandni chowk came close to New York, Gau Mata was near Gucci and we had our eyes wide open because Dil gira daftan.

15. Mohit Chauhan can do a masakalli and melancholy with equal ease! Can we now spare him! Why only rona dhona senti menti songs?

16. Best of 2009 – Bunch of kids got together in an “Audio Garage” and delivered the album of the year and the love anthem of our generation. Dev D. Music director, lyricist, singers – all new. Amit Trivedi, Amitabh Bhattacharya and the gang! ( If Rahman and Bhardwaj dont deliver, who will. So, would not put them here). 

17. A R Rahman gave us a musical note for boo boo. Its called Buuloooo.

18.  Best Closing Notes of the Year – Check out the last 2 mins of Rehna tu! Pure bliss. Can someone enlighten us what instrument it is. 

19. Underrated Songs of the YearPankho ko from Rocket Singh – Salesman Of The Year and Delhi Destiny from 99. Everything else gets so much overplay that the joy of discovering a good song is almost dead. Jaideep delivers one of the best lines of the year…..uljhe nahi to kaise suljhoge….bikhre nahi to kaise nikhroge.

20. Imtiaz Ali is going for formula in his music too. One punjabi bhangra for closing credit, one peppy number with english words, one sad song in Mohit or Raahat’s voice and blah blah! Partner in crime – Pritam.

21. Weirdest Words of the Year – Bhangra bistar! Courtesy – Jaideep Sahni.

22. Wannabe BPL Rock Album of the Year – London Dreams.

23. Worst Musical Import of the Year – Kylie Minogue with chiggy wiggie! whatever that means.

24. Worst Musical Export of the Year – Rahman with Couples Retreat. Why, O Dear Lord, why ?

25. Self-Flagellation Song of the YearBebo main bebo!

26. Musical Sucess Party of the Year – Dulha Mil Gaya! Yes, they threw a party to celebrate its musical success. Who is listening ?

27. Jingles of the Yeardil titli…dil titli….kabhi yaadon ka…kabhi sapno ka and Yeh kis pyaari hifazat me ho befikri ki haalat hai..yaara o yaara. First one is by Swanand Kirkire and second by Gulzar.

28.  Few things that never change – Atif still singing out of tune, here, there, everywhere. But its still working…tu jaane na ( Ajab Prem ki Ghajab Kahani )nobody knows why and how! Confession – we also love it!

29. Cinematic Homage Song of the Year – Akira Kurosawa from Chintuji. Its a riot…Kapola kapola! Listen carefully and see how many filmmakers you can spot!

Coming up next is filmy fuglies of the year!

PS. BPL – Below the Poverty Line.