Songs at the end.
This review first appeared in the Mumbai edition of The Hindu.
It would appear that Hope Aur Hum’s music director Rupert Fernandes and lyricist Saurabh Dikshit (both debutants in these respective roles in film, I believe) are predominantly active in the advertising field (as are the movie’s director Sudip Bandhopadhyay and producer Samira Bandhopadhyay for that matter). Which probably explains Aye Zindagi sounding like an extended ad jingle. The wistful message the song conveys is packaged in light hearted Hinglish verses by Dikshit that Fernandes further adorns with an unplugged style backdrop (the use of guitars, the harmonies, the melody – give me the kind of vibes I get when I listen to Amit Trivedi’s Sham from Aisha, and NOT in a plagiaristic way). And it is a delight to hear Shaan deliver a song of this kind after a long time with his characteristic cheeriness – wish the man were heard more often these days. The advertising connect seems to continue into Achche Bachche Rote Nahi as well, with the “repeat the message until it sticks” axiom in play – the Khwaab Sachche Hote Nahi.. Par Achche Bachche Rote Nahi” two-liner is repeated WAY too many times through the song. Despite Sonu Nigam trying to bring in variations in his delivery of the phrase, the excessive recurrence had turned me off the song. However, the use of guitars in the song, with its Spanish flavour, has grown on me over repeated listens. Rupert Fernandes is in good form as arranger in the movie’s title song as well, setting it to a groovy pop base, but the song’s melody is not particularly memorable. Good singing job by Bhoomi Trivedi and Suraj Jagan, that said.
Hope Aur Hum. There is definite hope in Rupert Fernandes, particularly for his way with song arrangements.
Music Aloud Rating: 2.5/5
