09 June,2021 08:00 AM IST | Mumbai | mid-day online correspondent
Sonam Kapoor Picture Courtesy: PR
Can music truly make a film work? This is a question the stalwarts of yore would have a detailed answer of. We don't see too many movies with too many good songs today, with the obnoxious obsession with remixing (or butchering) classics that shaped childhoods. One actor who always manages to find one gem in the soundtrack of her films is Sonam Kapoor.
Kapoor turns 36 today on June 9. She has been in the industry for 14 years. In these 14 years, her films have succeeded and sank, but what remained intact was one haunting melody in almost all of them. Here are some of them:
Sanjay Leela Bhansali's interpretation of âWhite Nights' met with a tepid response. The love story felt a little charmless if not entirely cold. What stood out was the music by Monty Sharma, making a sure footed impression as a composer. The film's soundtrack needs patience and care, and one such track is Masha-Allah, filmed on the leads (debuting Ranbir Kapoor and Sonam Kapoor). The boy cannot get over the gorgeousness of the girl and hence the lyrics. It elegantly captures the shyness of the girl and the flirtatious nature of the boy. Too bad the audience shied away from the film.
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Of course, we do remember the forgettable remixed version that angered fans and the original composer. But let's talk about the OG Massakali. A R Rahman set the tone of the female character just right with this pulsating number that still remains a contagious, charming track. It has montages of Sonam dancing with a white pigeon on her head, someone that represents peace and harmony. And the song is exactly the opposite- filled with energy and thunder. What a beautiful irony!
Amit Trivedi knows how to use restrain in numbers that can easily go over-the-top. In âAisha', this wedding number begins when the film is almost over and all the conflicts and confusions are resolved. Everyone wants to dance but since they all belong to filthy rich families (barring Amrita Puri and her husband), they have to show ease and composure. Trivedi doesn't only stay true to his style of composing but also to the nuances of the actors he's composing for. Genius!
One can always rely on Pritam to make certain films memorable only for their music. Pankaj Kapur's âMausam' is one of them. This melody is about a boy gazing at this new girl who has arrived in his village. He even follows her to her house and hides when he fears she has seen him. She has, and she smiles. We know a love saga will follow soon. We smile with the leads not as much for their love for each other as much for Pritam's number.
Rahman was at his haunting best in this Aanand L Rai's romantic drama about an obsessed, obnoxious lover. Dhanush unleashed his wild, unabashed side as Kundan, who didn't think twice before slitting his wrist for a woman who just wouldn't reciprocate his passion and obsession. This song plays out when he's completely fallen for Zoya, the very woman in question. Shot lusciously across the streets and hustles of Varanasi, Rahman's track gives this romance an evocative mood.
If the panic in an aircraft that puts its passengers in palpable fear and dread isn't enough to make you claustrophobic, this song that appears during the climax will take care. It plays after Neerja Bhanot's funeral. It plays after Shabana Azmi's moving speech about loss. This remains Sonam Kapoor's most important performance. And this is a deeply touching song that can leave you moist eyed.
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