You never remember Dhoom for its songs,of course,except for its catchy theme music that got wildly popular,right from street biking style statements to being recycled over and over again in the subsequent films (each film has at least two versions of the song,and this one,has four!). Given how the movie gets bigger with each installment,the music should ideally get better. Instead,the two Dhoom films followed the reverse pattern,with the second part not even half as good as the previous. With Dhoom 3,the trend remains intact.
With the franchise’s clearly set requirement of a bunch of generically catchy songs,and the composer’s knack of delivering exactly that kind of music at will,wonder what makes Pritam go wrong with it. The albums first track,Malang,is pleasantly surprising. It is a heady mix of Sufi,great melody and an interpretation of the Dhoom theme (yes,five versions,if you count this) that completely surprises you. This,with all its generic trappings played at the right places,is how the rest of the album should have been. The singers,Shilpa Rao and Siddharth Mahadevan,pack a punch but what really makes it work is the hook and the consistent arrangement. Malang is the best of the lot. Kamli’s strength is its Indian-electronica arrangement,the tabla-sitar at regular intervals,however flashily used,is always welcome. But the rest of it,the tune,singing,although earnestly attempted by Sunidhi Chauhan,sound jaded. Pritam hardly fails Mohit Chauhan. Here,their Tu hi junoon is saddled by an unremarkable tune,but the composers ability to manouever Chauhan’s voice offsets its weaknesses. Bande hai uske,a Bollywoodised children’s gospel,isn’t
a bad song,but it can
only work as a post-movie experience.
The rest are just banally frustrating versions of the Dhoom title song,including one ear-splitting Dhoom tap and an Arabic version. Dhoom and Sufi must have sounded like a cool idea on paper,but the results are far from it.