Let the music play on!

Subhash K Jha

Both Aamir Khan and his Lagaan director Ashutosh Gowariker unanimously agree on one topic --- mainstream Indian films are incomplete without songs and music.

The duo is least apologetic about them in the international cinema. "Our ethnicity is our main USP," reiterates Gowariker, glad that he refused to reduce the running time of the three-hour-40-minute film for the international market by cutting the songs of Lagaan.

"So many foreigners who have seen Lagaan have commented on how effectively the songs are integrated into the plot. Some of our greatest films have been musicals. Would you say the songs came in the way of Ganga Jamuna, Mother India, Sholay or Naya Daur?" argues Aamir Khan.

On the other hand, there is filmmaker Ramgopal Varma who is increasingly becoming wary of songs and music. "It depends on the genre. If we are making a musical, of course we need songs. But if it's a thriller like my Jungle we can't have the characters singing songs. At the most we can have songs and music in the background like in Hollywood films."

Admitting that he was pressurised to add songs in Jungle for the music album and television promos, Varma had promised he would never use songs unless the genre demanded them.

Now we hear something quite different. Spurred on by the astoninshing success of Kambakht ishq in his production Pyaar Tune Kya Kiya Ramgopal Varma has gone back on his decision to exclude songs in his latest directorial venture, Company.

While earlier, Ramu was adamant about keeping songs out of his taut tale of rivalries between two underworld dons, his resolve gradually melted. First he asked Sandeep Chowta to compose songs for the background score. Then, songs gradually emerged in the foreground.

Now, Company has got a sizzling item song by the Kambakht singer Asha Bhosle. Filmed on Isha Koppikar, the number is called Khallaas.

Chowta who is currently looking forward to his unusual, and hopefully unusually brilliant, music score in Deepa Mehta's Bollywood Hollywood, is very excited about Khallaas. "It takes over from where Kambakht leaves off. You simply have to hear Ashaji (Bhosle) sing the number. She blows your mind."

Interestingly, both the catchwords, Kambakht and now Khallaas, were suggested by Ramgopal Varma, who is quite a film music fan.

The music industry, currently under the shadow of a stunning slump, still sees filmmakers continuing to design projects with at least six numbers. Suneel Darshan, whose Talaash has 12 songs, reasons, "What would our films be without music and songs? They are the backbone of cinematic entertainment."

Hansal Mehta's slick thriller, Chhal, which would normally be considered taboo territory for musical empowerment has extracted an exciting music score from Viju Shah.

But can the music industry weather the current recession? There are high hopes on Sanjay Leela Bhansali’s Devdas, which features a brand new female voice from Bengal. For his part, the director admits some recent musicals have been major disappointments. But, music, he avers, can never be outdated.

Every filmmaker --- from Karan Johar and Dharmesh Darshan to Sanjay Leela Bhansali --- feels the acute scarcity of inspired music composers.

Johar had to rope in newcomer Sandesh Shandilya to supplement Jatin-Lalit's output in Kabhi Khushi Kabhie Gham The overworked Anu Malik has one promising score in Sooraj Barjatya's Main Prem Ki Deewani Hoon.

Sandeep Chowta works sparingly and gives his best to carefully chosen assignments. Jatin-Lalit seem to have run their course. We hear A R Rahman will now devote time only to his Western assignments and the South.

Rajesh Roshan, if rumours are to be believed, works wonders only with his brother Rakesh Roshan. [Take Rajesh's disappointing music in Koi Mere Dil Se Pooche and Aap Mujhe Achche Lagne Lage].

Ismail Darbar has done nothing since Hum Dil De Chuke Sanam.

That leaves the coast clear for the exiled Nadeem. Amazingly, Nadeem has delivered a hat-trick of hits (Yeh Dil Aashiqanaa, Raaz and Haan… Maine Bhi Pyaar Kiya) this year. Nadeem composes, arranges and sends all the tunes to Mumbai which are duly recorded by his partner Shravan.

It's all very fine to say that our cinema is ready to revive the era of great musicals. But with no one really to carry the great tradition of Madan Mohan, Naushad, S D Burman, O P Nayyar, Shanker-Jaikishan, Laxmikant-Pyarelal and R D Burman forward, one wonders where the music industry is heading.