Madras Cafe

Rating: **1/2

Comme ci Comme ça

The year was 1995. Two relatively unknown names — Shoojit Sircar and Shantanu Moitra — gave us Mann Ke Manjeere,a superb album,which was one last attempt to push the revive button on the Indian pop music scene. This was followed by the director and the composer coming together in the film,Yahaan,in 2005 to give us the dazzling and delicate,Puche jo koi.

Eight years after their last outing,the two are back for a political spy thriller,Madras Cafe. The eight-track album of the film,though well-orchestrated,does not come with the Midas touch Moitra is known for. It’s only half as good

as his scores in the past,which

has seen a masterpiece like Parineeta. Madras Cafe’s tunes are innocuous,with only glimpses of Moitra’s genius.

The album opens with Papon’s Sun le,which follows a slew of electric guitar interludes. It’s a pleasant track with keys,guitar and sarangi interwoven with the hero of the song — Papon’s rousing voice. Sun le has some recall value after numerous replays. The Reprise version of the song,which is pacy with heavy riffs is not better than the original and is a forced addition. Then comes Zebunnisa Bangash’s (Zeb of Zeb and Haniya) Ajnabee in the singer’s trademark hushed tone,paired with an acoustic guitar. The song is intimate and something far from the din of typical Bollywood songs. The moment the flute enters to blow in and out unostentatiously,the flashes of an almost masterstroke are visible. But the repetition of the notes towards the end do not allow the melody to linger.

Khud se opens with one of the better preludes I have heard in a long time,followed by a piano-guitar set up. The song strongly reminds us of Behti hawa sa (also a Moitra composition from 3 Idiots) and does not appeal to us beyond a minute. The Madras Cafe (Theme 1),which has different string instruments coming in one after the other,sounds fine,but it’s likely that the haunting touch given to it will sound much better when put into a context in the film. Conspiracy,another instrumental track has strong Middle-Eastern influences and comprises Monali Thakur’s gripping vocals. Entry to Jaffna is a violin piece that fails to have any impact.

Moitra is successful at the unison of Hindustani and Western instruments,but the melodies sound just about alright. What does not come to the fore is the greatness that Moitra’s music has the capacity to produce and has delivered in the past.