alll about salaam e ishq

Sinc Sound, smart editing chops, an ensemble of top stars, a semblance of artistic aspirations reveling in one big wedding party doesn't necessarily make a good film. The mammoth hype (unceremoniously bordering on gorgeous arrogance) that preceded 'Salaam-e-ishq' is up against a big boulder of discontent once this three and a half hour ( suspect it was even longer than that) ends on a tortuous note. In fact, Nikhil Advani's debut 'Kal Ho Na Ho' seems like a classic in front of this never ending valentine's day opera.

I really wonder what hit the director (or the producers to invest big bucks in such a spoiler) when he went ahead with making this film about the disparate love stories of six couples living in precarious situations and locations. It starts off with Tehzeeb Hussain (Vidya Balan), a television reporter and doting video editor hubby Ashutosh's (John Abraham) wedding anniversary. Their true love is tested when Tehzeeb meets with an untimely accident and loses her memory. Raju Taxiwala (Govinda) is over-the-hill but he is sure that a gori mem is meant for him. Enter Stephenie (Shanon Esra), a pretty blonde in search of her Indian boyfriend Rohit (Kushal Punjabi). Of course, Raju subdues his love to ensure that "Madam" finds her 'true' love even if involves going on a Bharat Darshan.

Haryanvi Ramdayal (Sohail Khan) is unable to control his lascivious intents. For the moment he comes in the vicinity of wife Phoolwati (Isha Koppikar) he gets too-hot-to-handle resulting in forced calamities of uncouth nature. Middle aged Vinay Malhotra (Anil Kapoor) runs an event management company in UK leading a perfect (Bored) life with wife Seema (Juhi Chawla) and two kids. He crushes into a young Indian dancer Anjali (Anjana Sukhani) on the London local train. And their crush germinates in revived ebullience and dollar smiles. It's for them that Sir Shakespeare wrote four hundred years ago….So true a fool is love…Never mind….Are you panting already….Just two more to go…

Well, there's commitment-phobia-prone Shiven (Akshay Khanna) who is having a ball in a bachelor's party a few days before his marriage with sensible Gia (Ayesha Takia). He lives in a chandelier house with weird paintings on palace-like-walls. And the item girl performing on the later-Page-3 famous night happens to be super-ambitious Kamini (Priyanka Chopra) who goes 'Saiyaan Re' in an unhesitating manner. She is a superstar item number specialist but she aims to becoming a superstar tragedy queen like Meena Kumari and Madhubala. In a la Rakhi Sawant style she calls for a press conference. Out pops lover boy Rahul in whose search she is off to London. Blissfully unawares, she is joined by Raul (Salman Khan, yes he pronounces Rahul like that only….Maybe on a famous footballer), her long lost lover (one sided) from home town Dehradun. His master plan is to create more publicity for Kamini babe in lieu of some money.

Throw in hits-n-misses soundtrack by Shankar-Ehsan-Loy and 'Salaam-e-ishq' is a tasteless bhelpuri that makes you feel like tearing off your hair (I don't have many anyways….Just imagine my plight). Alright, lemme start with a few good points. I just mentioned the music. At least three songs are absolute gems: 'Dil Kya Kare' (deliriously sung by Adnan Sami), 'Ya Rabba' (exceptionally sung by Kailash Kher) and the remix of 'Babuji Dheere Chalna' (sensuously sung by newcomer Nihira). In fact the delectable moves of Anjana Sukhani in the Babuji number are sensational to say the least. In fact Anil Kapoor track is the best amongst all.

The older man and younger damsel chemistry oozes out beautifully. Credit goes to Anil Kapoor for making the state of an older man trying to change himself for a dazzling seductress look so real. Check him out in the scene where he shaves off his moustache and jigs with his much-younger-lover's friends in a seedy pub. It requires guts to make a fool out of yourself convincingly. Kapoor does it brilliantly. Juhi Chawla expectedly gives dignity to her age and role.

In the only other somewhat convincing track, John Abraham successfully conveys his jilted feelings through his eyes and distraught body language. Those tears are real. As for Vidya Balan, when it comes to volcano of emotionality, this girl is great news. Govinda and Shanon are like chalk-n-cheese. Not convincing at all. The bonding between the two elicits several chuckles (especially when Shanon tries to speak Hindi). But the rest of it is contrived and too obvious. Akshay Khanna surprisingly bores you with his hyper over-the-top act. He irritates no end. Ayesha Takia doesn't have much to do except looking serene in ornate dresses. Sohail Khan and Isha Koppikar have two and a half dialogue each (In fact both are missing from the entire second half except for the credits at the end) and they freeze you with their cheesiness.

Finally, why did Salman Khan accept this less-than-guest appearance in a big film beats me! He looks cool dude alright but his performance reminds you of the sacrifical 'Jaaneman' act. In fact the whole film reminds of 'Jaaneman' for it is more style, and little or no substance. Priyanka Chopra looks a million pounds (I mean money and not the weight…Hah!). Her part is absolutely unconvincing yet she tries to put in a lot of heart. And succeeds to quite a degree too!

Aarti Bajaj's editing is innovative though she needs to cut the film mercilessly by at least forty five minutes. As for Nikhil Advani's direction (misdirection), less said the better it would be. Except for Anil-Juhi and John-Vidya, none of the aspects of the story leave a mark. I would call it a blatant exercise in gross excess of everything. And Mr Advani, constant reference to Karan Johar doesn't make you a better filmmaker. In fact if you would have taken some advice from your former mentor may be he may have stopped you from committing this blunder.

Shankar Ehsan Loy, the musical trio is a treat especially because of their fantastic production values and brilliant music arrangements. They've been having a good year after the success of Kabhi Alvida Na Kehna and Don. Salaam-e-Ishq soundtrack was eagerly awaited and was launched amidst much fanfare. As one starts listening to it, the first track Dil Kya Kare is one of the most charming songs I've heard this year. But I can't say the same thing about the songs that follow. Saiyaan Re, Mera Dil, Salaam-e-Ishq and Tainu Leke carry flavours of songs composed by S-E-L earlier. Even though the production values are high class, these songs don't bind your attention beyond a point. You would have to wait for the tantalizingly sexy remix of Babuji Dheere Chalna and Kailash Kher's brilliant ode to life Ya Rabba to feel good about this album. Salaam-e-Ishq is definitely worth a buy but it is high time Shankar Ehsan Loy updated their musical style. For one expects nothing but the best from them.

It's good to have Adnan Sami back to doing what he does best. Wielding the mike to let his Cadbury voice melt you with its sheer magic-n-grandeur. But Dil Kya Kare is a winner more so because of fantastic production values one has come to associate with a Shankar-Ehsan-Loy album. The simplicity with which this charming song enters your heart effortlessly is an experience that you wish to relive again and again. Even Sameer surprises with compelling lyrics reeking of youthful energy with lines like Bhool gayan din saal mahina…January mein bhi aaye pasina…Aata hai aaram kahin na…Dil kya kare…or there's another one in …Nikloon main phati jeans pehenke…Shirt ken a hosh button ke…Bajjte hain sub sur dhadkan ke…Dil kya kare….Apart from Adnan's voice, the well manicured chorus vocals are another highlight of this number. Acoustic guitar rhythm, keyboard sounds and piano dreams makes Dil Kya Kare a wonderful experience all the way.

Saiyaan Re reminds you in spirit of Mahi Ve from 'Kal Ho Na Ho'. And of course when it has Shankar Mahadevan as one of the singers, there's bound to be some classical raga based stuff thrown in too. Well, there's tabla colluding with the drum-n-bass. Some manjeera sounds are mixed too. A talented singer in Shilpa Rao (She made her presence felt in Javeda in Anwar soundtrack) displays her decent singing skills (Though I liked her better in Javeda). The end result of Saiyaan Re is a mixed one. For at one hand you like the superior musical talents merging together. It will have a mass impact too. But Shankar Ehsan Loy shouldn't be expected to deliver a Kajra Re in every album. S-E-L have set high standards and when they try to repeat themselves, it's a bit of a let down.

The moment tabla loop takes over proceedings in Mera Dil, one is reminded of Mitwa from 'Kabhi Alvida Na Kehna'. I don't think S-E-L lack talent to deliver fresh goods each time. Shaan sings his part impeccably but the choice of singer in Nihira is a wrong one. For, she breaks up as she reaches the higher pitch zone. Even the texture of her singing lacks the emotional quality one would associate with a playback singer in one of the most eagerly awaited film music albums of the year. Electric guitar piece in the middle is a regular fare, though the repeated melody stays in your mind. Over all, Mera Dil doesn't offer anything drastically different. It's average fare.

The title track Salaam-e-Ishq once again carries a staple S-E-L stamp with the regular tabla-dholak combo and a Panjabi flavour that has come to be associated with most of their albums. There's nothing outstanding about the melody but what makes this song special is superb production values, wonderful chorus sections and marvelous music arrangements. A plethora of talented singers share credits. They include Sonu Nigam, Kunal Ganjawala, Shreya Ghoshal, Sadhna Sargam and Shankar Mahadevan. Salaam-e-Ishq is a song for the masses. But not the best from the masterful trio.

Tainu Leke is a Bhangra number with obvious musical references to a marriage mood. It goes without saying that the intention is to grip the listeners at the first listening itself. I am sure there must be people who'd patronize this song to a certain extent as well. But personally Tainu Leke is a disappointment. Sonu Nigam and Mahalaxmi Iyer's singing is fine but in an attempt to parody the marriage bands with the loud-n-garish trumpet blowing, the song goes haywire. In an endeavour to recreate the melody of the title track, this song gets monotonous. And one feels like bypassing it for the next song.

The remixes of Khaike Paan Banaraswal and Yeh Mera Dil in their last release 'Don' didn't live up to the expectations. But when you listen to the lounge mix of yesteryear classic Babuji Dheere Chalna from the film 'Aar Paar' you end up eliciting a sigh of fascination. It starts off with an English hook line….What's on your mind…Nihira's slim-n-sensuous vocals do full justice to this fabulously well produced number. There's a liquid energy that flows effortlessly as the crafty rhythm progression wins your heart and mind. Salubrious Flute and the heightened rhythm built up at the crescendo stage is a treat for the music lovers as well as the young-n-impressionable. Babuji Dheere Chalna is one of the best remixes I've ever heard in a long time. Play it again baby…

Ya Rabba is the kind of song that one wishes to listen in an album having the name of Shankar Ehsan Loy associated with it. Why? It's divinely different, satisfies your zeal for listening something which carries a well defined artistic sensibility and also shows what one can do with the giant voice of someone like Kailash Kher when you offer him something new-n-unique. Ya Rabba starts off with the laidback bassy 'thaap' of a tabla dagga (left side of the tabla set). Acoustic guitar impressions coupled with a heartrending flute piece gently push the raw vocals of Kailash as if the boat of life moving forward with the helpful aid of tranquil waters. Sameer's lyrics are competent once again and make this thoughtful song a treat as it talks about the victory even in defeat and living life against all odds. Ya Rabba is a winner all the way.

Salaam-e-Ishq: A-mix-of-old-n-new