Blue

Director: Anthony D’Souza

Film music has always been what the director demands and how the composer improvises the situation, no matter how clichéd ore lame the situation maybe. Sometimes great songs turn out to be poor due to the non-existent sync between the director & the composer and ordinary songs turn out to be extraordinary all because of the situation and picturisation. A.R.Rahman’s Blue could become an example of either of the situation.

Hindi music sans Punjabi flavour being a rarity these days, Lee Hom Wang’s “deep in the bamboo groove” & JoJo’s “Baby its you” inspired “Chiggy Wiggy” turns out to be the punjabi version of “maya maya” with Sonu and Kylie replacing Maryem Tollar, Keerthi and the flavour intensifies in “Blue-theme”, the desi-version of the cross-over theme song from Chandini Chowk to China, but with “Aaj dil”, a typical sea adventure kind of self-indulgent song backed by the youthful voice of Shreya & rustic Sukwinder, ARR enters his comfort zone of Jazz (modern jazz here) which settles down to classic jazz in the beginning of “Rehnuma” (possible song of the album) and springs a surprise with the “Arabian nights” and “Thazhuvudhu nazhuvudhu” inspiration, rendered arduously by Shreya and Sonu, the lines of Abbas, who seems to have influenced “Kahin toh” into Rashid Ali’s soulful “Bhoola tujhe”, and yet comes up with the funky & witty “yaar mila tha” sung enthusiastically by Udit and Madhushree with minimal instruments usage by ARR compared to the heavy techno rendering in “Fiqrana” by Vijay, which has the catchy alliteration leading to the high octane motif of the song followed by the soft voice of Shreya for this situation mover song.

How the gears met!

Two gears were stationed in their shafts parallelly; one the LAY shaft and the other the drive shaft. Unlike other LAY shafts, this peculiar shaft had the capability to drive the main shaft crazy. Days passed, the two gears were just stale. It so happened or just fate, that the reluctant drive shaft and the ever enthusiastic LAY shaft got assembled into a room. As the messiah of music came into the cabin and shifted the gear knob, they got energized by the sudden surge of power. High torque was produced and the LAY shaft gear got kick up. It took the drive shaft gear for a ride using the 60cc engine. Though the drive shaft gear wanted to take over, it was game to let the LAY shaft gear take the lead. During the ride, it couldn't stop noticing the artfully crafted, curvy helixes. It tried to make contact, but the line of action was not appropriate; it chose to wait for the idle gear to move out and for the ideal time to come. And it did come as the title started rolling leaving a clear path of action for both the gears. As the SUN gear shouted “am the happiest man in the world”, the LAY shaft got exhilarated and started producing humming sounds. Then came the break and thus entered the multifaceted crispy synchromesh. Both the gears were constantly reaching for it - and then it happened. The two gears first had few brushes against each other and slowly at their core, as they were meshing the friction between the two created a force which was starting to be felt at the center. It was a different feeling: a whole new experience. The two meshed well with maximum interference. It was like an in-Separable, smoothly Engaged, Perfectly matched Teeth setup, forming the shape of 8.

PS: a mechanical take on date :)

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