RA ONE IS TELUGU AND TAMIL RELESED DIWALI

Sci-fi flick RA.One is touted to be Shah Rukh Khan's most ambitious venture. From turning into a video game to releasing in 3D, SRK is leaving no stone unturned to make the film a huge success. Till the real thing releases, enjoy the stills.

To woo the Southern audience, Bollywood star Shah Rukh Khan will release his much awaited sci fi film RA.One in Tamil and Telugu as well.

"The film will be released in Tamil and Telugu as well. It will release simultaneously when the Hindi version of the film will release. The Tamil and

related stories

• SRK dedicates RA.One music to Yash Johar, Bobby Chawla

Telugu versions are already ready. The dubbing is done," Shah Rukh told reporters here on the sidelines of the music launch of the film.

"We might release it in German and few other languages as well. I'm in talks with Eros for this," he added.

RA.One that is slated for a Diwali release and will be available for viewing in both 3D and 2D formats, will present Shah Rukh as a super hero for the first time. Directed by Anubhav Sinha, the film also stars Kareena Kapoor and Arjun Rampal in pivotal characters.

Contagion

Movie Review: Contagion

3.5 Stars Out of 5 Stars

Impressively casted and conceptualized, Contagion manages to infect its audience’s attention from the very beginning. The film stays away from the histrionic conflict involving central characters and the plot focuses on the obvious issue with the continuously spreading ailment. It is well-produced, enlightening and truly alarming, putting the value of health and vulnerability into perspective.
Contagion begins the same way an illness would; calmly and hardly troubling, with a cough. But it progresses quickly, wasting no time with one individual character. Viewers are quickly introduced to a business woman in an airport who’s assuming her heavy headache is caused by jetlag. Then a man stumbles around the streets of Hong Kong, too sick to keep his eyes open. Another man collapses on a bus. A woman in power is kidnapped by an Asian village plagued by the ailment. Although the characters are brilliantly casted in this film, they aren’t the focal point until they are somehow being affecting by the disease. You watch how the disease progresses through each group of people and the very real events that could take place during an outbreak like the one being portrayed. The audience itself is overcome with fear through witnessing the potential deaths, riots, conspiracy theories, kidnappings and horrors that are paired with real life implications.
Throughout the film, Mitch Emhoff (Matt Damon), who is widowed within the first ten minutes and apparently immune to the virus, plays the role of a frightened father trying to keep his daughter alive. His wife, Beth Emhoff (Gwyneth Paltrow), is the first to reportedly die of the virus. This family’s point of view is most closely relatable while the father waits for a cure, knowing about as much as any layman of the science that goes into medicine. Then there is Dr. Erin Mears (Kate Winslet), the genuinely kind-hearted and down-to-business doctor that is sent out to begin research on the infected in Minneapolis.
Many other A-list actors make small, albeit sporadic, appearances as the film progresses. While there is still genuine hope for their well-being and survival, some characters are not as easy to sympathize with. A prime example is Alan Krumwiede (Jude Law), a loud-mouthed blogger who frolics through the film stirring up trouble in communities that are already swimming in apprehension.
By the end of it all you’ll feel a bit shaken up, having been handed a shockingly simple explanation to how the plague began. Despite the simplistic nature of the disease, Contagion was easy to comprehend and believe without losing any entertainment value. With a couple of awkwardly placed montages depicting the science behind the cure, the lackluster cinematography isn’t deserving of praise. At the end of the day, Contagion is a long past due success after a line of zombies, air born killers and invisible enemies.

Fast Five is a must-see for car enthusiasts (and any diehard action junkies)

4.5 Out of 5 Stars

Even though it’s been a mere 15 weeks at the helm of “Now Showing,” it’s time for me to call it quits as The Lumberjack’s movie critic. Graduation is approaching, and it’s my time to say goodbye not only to movie reviews, but to the paper as a whole. I can honestly say it was a good run, but one that unfortunately came too fast.
Speaking of fast (see what I did there?), Justin Lin’s Fast Five was the perfect film to write about for my last review. Combining all the elements of a summer blockbuster with surprising depth for a racing franchise, I’d argue Fast Five is the best of a series that started nearly 10 years ago.
Fast Five stars Vin Diesel and Paul Walker as Dom Toretto and Brian O’Conner — two men on the run after Dom’s jailbreak at the end of Fast & Furious. Dom and Brian, along with Dom’s sister Mia (Jordana Brewster), flee to Brazil, but following a train heist gone wrong, the three plot revenge on local crime lord Hernan Reyes (Joaquim de Almeida).
Reyes, a corrupt businessman who essentially runs Rio de Janeiro, has 10 safe houses around the city, which hold his finances. Dom plans to milk Reyes dry of his finances and puts together a team of past associates, including Roman Pearce (Tyrese Gibson reprising his role from 2 Fast 2 Furious), Han Lue (Sung Kang from Tokyo Drift) and Gisele Harabo (Gal Gadot from Fast & Furious).
Unfortunately for Dom and crew, DSS agent Luke Hobbs (Dwayne Johnson) is hot on their trail. Is there enough time to pull off one last job, or will Dom and crew finally meet their end after living on the edge for over a decade now?
Despite being a series that started hot with high-octane races, The Fast and the Furious franchise has eased up a bit on the driving in its previous two installments. Fast Five has approximately one race in it, but that doesn’t stop the action; on the contrary, Fast Five has some of the best action sequences I’ve seen this year, and the film does a nice job expanding beyond its original demographic. A fight scene between Diesel and Johnson is just one of many scenes that succeed in getting the action rolling.
Lin also deserves credit for crafting a visually appealing film set in beautiful Rio. Like he did with Fast & Furious, Lin brings a real urban, gritty feel to the film that does a good job complementing the rough world of crime and street racing. Fast Five’s driving sequences are once again top-notch (despite little actual racing, there is quite a bit of driving; think of Fast Five as more of a heist film than your traditional racing flick).
Surprisingly, one of the film’s greatest strengths is its plot. Fast Five does a great job connecting with previous films in the franchise, which is a nice treat for fans who took the time to watch the originals. Yes, some of the plot (and action sequences for that matter) borders on the absurd, but give credit to the actors who manage to pull the coolness out of each corny moment.
Speaking of acting, Fast Five sports some of the series’s best performances to date. Diesel is still the badass we know from the original The Fast and the Furious, but he adds a surprising level of depth following the (spoiler alert) death of his girlfriend in the previous film. Walker is also solid, drawing from his turn from cop to criminal with nice subtlety. The only real new addition to the franchise, Johnson, does an outstanding job complementing Diesel’s character as a cop with attitude. The rest of the cast does a good job stepping back into their roles for nostalgia’s sake, but Fast Five’s success comes from its leads and their ability to add depth to their characters five installments into the franchise.
In the end, I was pleasantly surprised with Fast Five, considering I thought it would be a summer blockbuster full of top-notch action, only to lack in substance. Instead, by simply drawing upon the core staple of its predecessors, Fast Five succeeds in ushering in the summer with a nice blend of action, humor and heart.

Hum Tum Shabana Music Review

Sachin-Jigar of F.A.L.T.U and Tere Sang fame are back on the front lines of Bollywood music with Hum Tum Shabana, a comedy starring Shreyas Tadpade (Golmaal Returns), Tushaar Kapoor (the Golmaal movies) and Minisha Lamba (Yahan and Bachna Ae Haseeno).
The album is made up of seven tracks, inclusive of two remixes. It features the lyrical styling’s of Sameer and the vocal talents of Anoushka Manchanda (‘Mit Jaaye Gham’ – Dum Maaro Dum), Mika Singh (‘Pyaar Do’ – Thank You), Palaash Sen (of Euphoria), Tochi Raina (‘Gal Mithi Mithi Bol’ – Aisha), Suzanne D’Mello (‘Jee Karda’ – Singh is King), Jigar Sariya (‘Rab Milaya’ – Teree Sang) along with Raghav who is making his foray into Bollywood music.
Hum Tum Shabana costars Sharad Saxena (BodyGuard) and Statish Kaushik (Road, Movie) and has been directed by Sagar Ballary (Bheja Fry). It hits cinemas on 23 September 2011.
The album starts off with a bang with Music Bandh Na Karo. It is a decent attempt by Sachin-Jigar to re-create the youth anthem ‘Char Baj Gaye’ from F.A.L.T.U, but it does not get your blood pumping quite like ‘Char Baj Gaye’. Regardless, it is still a fun filled club/dance number sung with energetic appeal by Anoushka, Palaash and Abhishek Nailwal. Therefore, is gaane ko definitely bandh na karo. Why this track needed a remix is not entirely clear since it is already fast-paced and loud from the get go. Regardless, there is a remixed version of it by Kiran Kamath which is rather unspectacular, in that it does not achieve anything that the un-remixed version did not already achieve.
Next is the Hey Na Na Na Shabana by Raghav, a trendy contemporary track that is contagiously hummable. While Raghav has sung several Hindi songs in his musical career this is undoubtedly his first number for a Bollywood film and I really hope he continues to collaborate with Bollywood composers after this. Needless to say, Sachin-Jigar could not have found a better vocalist for this song. While the lyrics would not be wining a nobel anytime soon, they are still cute and the music is easy on the ears making this song an instant favourite. In contrast, the track’s remix, by Akhil Talreja is quite unremarkable. Further, it drowns out Raghav’s vocals which is rather disconcerting.
Thank You Mr DJ is up next, a relatively uneventful sung by Mika and Suzy Q. It is more of brawny chant/drawl suited to a crowd of spectators at a sporting event than a song. All one can hope it that it might be more appealing in the context of the film’s narration.
Anoushka Manchanda then enters the picture with the mind blowing Piya Kesariyo. The track’s pseudo-classical lyrics impressively vocalised by Anoushka against the backdrop of a clever fusion of head banging rock and light-Indian classical is what makes it outstanding. It is vulnerable and powerful, loud and soft, all at once. In short, it is ‘Maula Mila De’ and ‘Morey Siya’ (Teree Sang) on adrenalin. Hats off to Sachin-Jigar for such a brilliant composition!
The album closes with Tochi Raina’s Kaari Kaari, a pumped up Punjabi dance number written by Mayur Puri. Sachin-Jigar pull out all the stops with this track and with the recent popularity of songs like ‘Gal Mithi Mithi Bol’ (Aisha) and ‘Sadi Gali’(Tanu Weds Manu) ‘Kaari Kaari’ will definitely win hearts.
In summary, Hum Tum Shabana is quite a decent album and another feather on hats of Sachin and Jigar. ‘Piya Kesariyo’ and ‘Hey Na Na Shabana’ are the definite winners while the partygoers will eat up ‘Music Bandh Na Karo’ and ‘Kaari Kaari’ without question. ‘Thank You Mr DJ’ on the other hand might not find a lot of takes. In any event, Hum Tum Shabana is a sound effort from Sachin-Jigar so give it a go!

Force Music Review

The season of remakes continues with Force which stars John Abraham and Genelia D’Souza in lead roles. The film’s a remake of Tamil film Kaakha Kaakha starring Surya (Rakht Charitra) and Joytika (Doli Sajake Rakhna) which was also remade in Telugu as Gharsana. While the Tamil and Telugu versions were directed by Gautum Menon, the Hindi remake is being directed by Nishikanth Kamath (Mumbai Meri Jaan). One thing that remains the same is that Harris Jayaraj (Rehna Hai Tere Dil Mein) who has composed for original and the Telugu remake, has also composed and produced the music of Force. Meanwhile, Javed Akhtar has penned the lyrics.
The album is made up of 5 tracks, one of which is a bonus track composed by Lalit Sen seemingly unrelated to the movie. Surprisingly, no remixes.  It features the vocal talents of Shreya Ghosal (‘Bahara’ – I Hate Luv Storys), K.K (Mere Brother Ki Dulhan – Title Song), Karthik (‘Behka’ – Ghajini), Vijay Prakash (‘Fikrana’ – Blue), Naresh Iyer (‘Rubaroo’ – Rang De Basanti) and Bombay Jayshree (‘Zara Zara’ – Rehna Hai Tere Dil Mein).
Force opens in cinemas on 30 September 2011.
The album gets of to an impressive beginning with Khwabon Khwabon promos of which having been making rounds on video channels with much applause. It is a very pumped up romantic track which is equal parts traditional and equal parts modern in terms of music. It is fast, catchy with great lyrics and has you singing and dancing to its tunes in no time. K.K’s vocals match the demands of the song, strong and unwavering at one time and soft and serene at another. Khwabon is definitely the USP of the album.
The album slows down with Chaahon Bhi, which is a trifecta of beauty. That is, beautifully sung, beautifully written and beautifully composed. Lyrics about the said and un-said have been aesthetically penned by Javed Saab which have then been given life by Bombay and Karthik via Harris’s melody. The track is elegant in its simplicity, easy on the ears and as mentioned previously, just all round beautiful.
Next is the bonus song, Dum Hai To Aja by Mahua composed by Lalit Sen. It is unimpressive filler number that will surely fall prey to the skip or delete button of the listeners’ respective music devices.
Main Chali is next, another beautiful track by Harris which has a brilliant flute solo and then a sitar solo between the vocal styling’s of Naresh and Shreya. Shreya sings the softer melodious portions of the track while Naresh’s portions are very energetic. That being said, they are still very much interconnected by way of lyrics which depict how each person’s life has changed recently.
The final track of the album is Dil Ki Tamana by Vijay, Shalini Singh and Neha Bhasin. One of the ladies sings the chorus while the other sings the verses in between. It is a lovely melodious duet about he illogical hesitation with respect to acting on one’s feelings. It well written by Javed Saab and Vijay, Shalini and Neha do full justice to the lyrics while Harris maintains the elegant simplicity of Chaahon Bhi with this track.
In summary, the music of Force proves that good things do come in small packages. All four of the tracks are lyrically, musically and vocally beautiful with Khwabon undoubtedly coming out on top. The reminder of the tracks, though being somewhat of each other’s derivatives are still a good listen. Lalit Sen’s bonus track is definitely a spanner in the works and should have been the last track as opposed to being the awkward third song. Definitely force yourself to get a hold of Force and you won’t be disappointed.

Bodyguard Movie Review

Atul Agnihotri and Reliance Entertainment produced Bodyguard conjured up a number of questions in one’s mind before its release. Will the movie see Salman Khan hit the hat-trick at the box office? Will the Salman-Kareena jodi finally strike gold? Will the remake live up to its Malayalam original of the same name? Will Khan’s topless trademark happen all over again? With only the last of the list being a given, it’s right to say Bodyguard comes with many expectations from the audiences and an almost instilled hope that it will be as successful as Ready and Dabangg in its opening and beyond. Does Bodyguard live up to the hype and deliver yet another success on the occasion of Eid?
The story of the movie surrounds primarily the two characters of Lovely Singh (Salman Khan) and Divya (Kareena Kapoor). The two meet when Singh is appointed as Divya’s bodyguard following news that her life is in danger. With prior gratitude and respect for Divya’s father, Sartaj Rana (Raj Babbar), Singh puts Divya’s safety at the forefront and follows her everywhere she goes in protection. Divya isn’t approving of this and, oblivious to the threat to her life, attempts to distract him. She becomes “Chhaya” and makes him fall in love with her. It is only then that she gets to know the real reasoning behind Singh’s actions, without revealing her identity. Divya becomes somewhat trapped upon knowing the truth and then follows the twisted tale of whether she should expose the extent of her pretence.
Bodyguard is or should have been, in effect, a simple love story but it’s complicated by a number of things. Firstly, Divya’s fake identity becomes a little less believable with every action “Chhaya” takes. As the story unravels, it’s difficult to imagine that Singh can’t recognise her and falls for her as if she is a separate person. This is perhaps the biggest drawback of the movie. Secondly, it seems Bodyguard takes the same line of character for Khan as Ready’s Prem Kapoor. Although the two characters played by Khan are different as they are in different movies, there are some obvious similarities that perhaps the audiences may tire of in Bodyguard, the second time around.
The action sequences with the film are, once again, of a similar nature and feel as those in Dabangg and Ready. It seems film-makers and the like want to re-deliver the same “perfect” formula yet again in the avatar of Salman Khan. It remains to be seen whether the audiences take a liking to an act which, quite frankly, is a little bit tedious. Although a very Bollywood kind of masala comes from such action scenes, it’s no wonder that sooner or later, the fans will want to see something a little varied. It remains to be seen whether an outcry for the varied comes with Bodyguard.
The music of the movie, undoubtedly, has become a hit almost instantly. Himesh Reshammiya has produced some hummable and immediately likeable tunes such as ‘Teri Meri’ and ‘Desi Beat’. Pritam’s ‘I Love You’, sung by the mega-talented Ash King, is also being liked by the audiences. The visual treatment of the songs is something to look out for with both ‘Teri Meri’ and ‘Desi Beat’ being portrayed very much like a stand-alone music video. This is a very different take on the way songs are picturised in Bollywood and might be something one sees more and more as time goes on.
It has to be said that the two protagonists in the movie are performed very well by Khan and Kapoor. Arguably, this is more than likely the biggest hit the duo will give in their jodi so far. It would be hard to imagine anyone but Khan in the role of the sturdy professional Lovely Singh. Khan seems to have this sort of role down to a tee; vulnerable, subtly comic but yet strong and safe. Kapoor’s rendition of Divya is praiseworthy and a particular mention should be given to her wardrobe in the movie, courtesy of Manish Malhotra. Her colourful, traditional but yet contemporary suits are full of elegance, complimenting her character immensely. A special mention should also be given to the very funny Rajat Rawail who plays Tsunami Singh, Sartaj Rana’s employee and follower of Lovely Singh. His comedy scenes are fresh and the dialogues he was given did complete justice to light-hearted character.
Overall, Bodyguard is a film which, although fitting to the season and celebration of Eid, may find it hard to create and leave a mark with the audiences. It’s a movie which will be known for its light-hearted scenes more than those with the dishoom-dishoom, if remembered at all. However, in a career like Khan’s and Kapoor’s, it’s hard to say that it will be even the bat of an eye lid. Bodyguard is a watch for a day in which you’re looking to de-stress with an unemotional and cheery story but if you’re looking for real masala with not-previously-seen characters and scenes to match, this is one you’d be better off leaving at the bottom of the pile.

Bol Movie

Bol Movie Review

Back in 2007 a British-Pakistani friend strongly recommended the film Khuda Ke Liye, which she watched with us. Having never seen a Lollywood film before, I recall being impressed with the production values, acting, music and concept. Now years on with the export of so many great Pakistani singers to Bollywood (Adnan Sami, Rahat Fateh Ali Khan, Atif Aslam) it was only natural to be watching a film where I’d seen the director’s first film and in which singer Atif Aslam makes his acting debut.
Bol (Speak up) is the second film written and directed by Shoaib Mansoor and has done extremely well in Pakistan. Like his first film, this is also a social commentary, which looks to reflect a slice of society, as well as challenge it.
Based in Lahore, it takes place in the house of a family of young girls and highlights the challenges and confrontations they have with their father, who continues to embody the contradictions of many religious values, which in turn accentuates the growing poverty, troubles and sufferings of the family.
The story focuses on Zainab, a daughter who always feels compelled by her logical reasoning and sense of justice to challenge the values her father holds dear. It’s an emotional film, which looks at some serious issues through the experiences of its characters.
From a film making perspective it is technically sound, made with high production values, great cinematography and framing – showing the diverse shades of Lahore city, from it’s Mughal architecture, to flashy shopping malls, to it’s inner-city lanes, to the open air of the paddy fields and villages, to even it’s red-light districts – throughout the film we witness some amazing shots.
Acting wise, if you’re going to see this as an Atif Aslam movie, it’s not. Which for me was actually quite refreshing, to choose not to have a big star take centre stage. Atif was portrayed as a regular middle-class guy, no heroisms or histrionics, a reserved performance, which whilst nothing to rave about, you could say that he did what was required of the role.
The real two stars of the film were Zainab (Humaima Malick) and her father Hakim Saab (Manzar Sehbai). A particular mention of the father, as he chronicled the emotions of a religiously timid character, to regressively patriarchal father and finally a menacing and hypocritical tyrant, convincingly and whilst making you loath him throughout the film.
I also have to make a special mention of the young actor who plays Zainab’s younger brother and Shafqat Cheema who played the ‘pimp’. While your heart went out to the brother, you couldn’t help but laugh along with the dialogues and comic moments of the pimp.
Music wise, it was again refreshing to see songs woven into the storyline and not typically lip-synched or choreographed song sequences. There were some soulful numbers and while I enjoyed the first Atif Aslam song of the movie (Hona Tha Pyaar) – which was a slow love ballad, he made up for it with the second track (Kaho – Aaj Bol Do), which was more what we’ve come to expect from the rock star singer.
From a script perspective the original premise of the film was amazing, essentially a story of a father, Hakim Saab, who longs for a son after the birth of seven daughters, but is blessed with a eunuch. There then follows a story of Shafqat Cheema and his courtesan, who blackmail Hakim Saab to father a daughter with the courtesan, played by a beautiful Iman Ali, in exchange for money. Both were interesting concepts – but as stories, could have been told in either two separate films or better interwoven into one narrative, here we have one story begin as the other ends.
Also, throw in a catalogue of just about every social issue available: poverty, education, women’s rights, pressures of child-bearing, dated interpretations of religion, inter-generational struggles, corruption, sectarian differences and it starts to make you think – was the director trying to get all his messages across in one go as he thought he wouldn’t get the chance again?
What results is a complex and uneven narrative, in which not one single issue is explored deeply enough. If he’d done justice to just one single issue, it would still have managed to retain the bold and gripping objective the film was aiming to achieve. Story pacing (152mins) and narrative slightly lets it down for me. However, I wouldn’t let this spoil what is still a very well made and honest film.
My conclusion: interesting and at times entertaining, but will test your emotions. A special mention to the beauty of the language used throughout the film and opportunity to see Lahore in its various manifestations. I’m all for supporting emerging cinema and believe in time we’ll be watching more and more films coming out of Pakistan, so would definitely encourage those interested in watching more meaningful cinema with a social message to give this a shot.
Finally as the lovely host at Eros International said to me: it’s better than Khuda Ke Liye – I would agree!

Breakaway/Speedy Singhs Music Review

Breakaway (also known as Speedy Singhs) is Akshay Kumar’s latest production project: an Indo-Canadian co-production slated to release at the end of September. The film, starring newcomer Vinay Virmani, Anupam Kher, Russell Peters and Rob Lowe, is centered around a young Indian-Canadian hockey player and the difficulty he encounters trying to balance the two cultures he has grown up with. His father wants him to work for the family business and devote himself to religious past-times, instead of pursuing a career in hockey (a sport most beloved by Canada).
This idea – this melding versus clashing of cultures – informs the soundtrack too.
RDB – a Canada and UK based bhangra outfit – are at the reins for the Breakaway soundtrack album and have composed an album that is unmistakeably desi at its core, but seamlessly mixes in hip-hop and dance.
The album opens with Ne Aaja Ve, a breezy dance track sung in a mixture of English and Punjabi by Veronica (with an array of vocal contributions, including a rhythmic “Balle balle balle!” from H-Dhami). The thumping beat and simple, hypnotic, repetitive vocals are kind of misleading – the more I listened to this one the more intriguing the complex beats became, not least how H-Dhami’s various Punjabi vocals are used as beats in their own right. It’s surprising a remix hasn’t been included on the album.
Attempts to combine rap/hiphop with Hindi have been, shall we say, hit and miss in the past – sometimes they are just kind of awkward, especially when someone who doesn’t know how to rap attempts rapping (I won’t name names). The second track on the album, Shera di Kaum has been highly anticipated since producer Akshay Kumar announced rapper Ludacris was on board for a collaboration with RDB. And it doesn’t disappoint. We’ve all seen the sports movies where the sports team needs to get psyched up into winning the big game: if all it takes is a song to get them pumped and feeling like winners, Shera di Khom will be it. Combining rock and rap (in English and Punjabi) against a building, intense background of wailing electric guitars, spitting synths and pounding drums, the overwhelming message is “Never lose, never fear, overcome all and persevere.” It’s not pushing the envelope much – but you can totally see how this will fit into the film and I actually love this kind of slightly cheesily motivational song.
The track I actually MUCH prefer though, in terms of a track I will listen to over and over again, is track 3, Sansar, a short but definitely intense burst of triumphant bhangra infused hiphop. RDB take a bhangra groove and build the track over the top: laying down a simple, banging beat, then letting J-Hind, Kat Eyez & Smooth battle it out with lightning fast verbal dexterity. LOVE this track: favourite on the album.
Veer da Viha is the closest to a straightforward standard Punjabi number on the album. It’s upbeat, and kind of raucous, with Jassi Sidhu handling the vocals with help from an apparent roomful of cheerful, shouting, “brrrrrrrr”-ing friends. The most interesting touch on the track is the subtle addition of brass-band flourishes along side all the bhangra goodness.
The final track on the album is Jassi Siddhu’s take on a Punjabi CLASSIC: Rail Guddi. This is a dance track, but synths and mix effects have been used pretty sparingly to emphasise the chugging “train” feel of the track and to preserve the overwhelmingly Punjabi flavour of this classic. This isn’t a song you listen to. It’s a song you form a human train to on the dance floor. Enough said. Feel the nostalgia, kick off your shoes and join the chain. If anything, this one is about fun.
Overall, the Breakaway soundtrack is kind of awesome – if you like your bhangra a little less rustic (thank you, and goodbye every single recent track feeling the need to imitate the Dabanng soundtrack) and a little more club ready. If you like hiphop, club music and bhangra, and even better, all three at once, you’ll like this album. If not – best steer clear.