This relatively small action thriller has already generated quite a bit of buzz when it got into predictable trouble with the cultural gestapo that previously controlled the Indian Censor Board and lead actor Nawazuddin Siddiqui has garnered significant and well-deserved box office clout thanks to his eclectic choice of roles. Another reason that might draw audiences in is its soundtrack. With ornamental lyrical construction by Ghalib Asad Bhopali and musical composition by Gaurav Dagaonkar which is almost an homage to earlier simple times, the score is a earworm that won’t become a headache.
Barfani (Male) and Barfani (Female)
Basically what Bheege Hont Tere was to Murder, Barfani is to this film. With two versions, a Yin and Yang of male and female as it were, the song in fact mentions “Bheege Hont” among other less subtle pleasures and is presumably, actually make that definitely, the musical backdrop for the sensory scenes which previously drew the Censor Board's ire. Prurience aside, the lyrics of this song, and indeed the entire soundtrack are of a similar quality: earthy, but ephemeral, like rain hitting the earth.
Carrying forward the rustic element in a far less risque manner, the song is still uncomplicated and doesn't impose on the listener with complexity or cacophony.
Very appropriately set around a wedding scene, Ghungta is what the doctor ordered, or at least what the band played. A considerable upswing from the previous gentle tracks, Neha Kakkar belts out a bombastic number; band, baaja and baraat included.
Papon changes the tempo again with this song, a considerable departure from the ruralized musical style employed thus far. Orchestral jazz-inspired would best describe it, with the lyrics, however, retaining their Polki cut character, raw yet simultaneously soft.