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Thursday, 19 January 2017

HIndie Awards 2017: Best Original Score [Indian Language]

Best Original Score

Indian Language


How is it?

That despite half the resources, half the audience and half the accessibility, does Indian Language cinema as a whole trump Hindi Cinema?

Maybe it's because popular cinema has become too big for its britches, as this year shows in the case of every major studio shutting down production [apart from those originated in India]; Hindi cinema is all about the glitz, the glamour and the star power.

There might be some love for content and technicians might flourish, but nothing compared to what is brought here.

Language is flavour, music is flavour and their sweet mixture is what these scores are all about. As I write and think of these, I find it absolutely difficult to decide who wins.

More importantly I find it difficult to think that Hindi cinema gets better than these, that is why a seperate section. Cause in all fairness and kudos to some fine films this year in Hindi, nothing compares to what Tamil, Marathi, Punjabi and etc. Cinema are doing today.

Onto the nominees...

Santhosh Narayanan for Iraivi

The master of melody, Santosh Narayanan might not craft a distinct tune like he did for Jigarthanda but just like that film he is in tune with the very essence of character that he had with 'Assault' Sethu in that and with the gender distinction in Iraivi.

There is a profound understanding of the use of silence when it comes to the simple rains, allowing the drip to play of a hollow area and spread its wash of liberation. Equally the score takes a softer approach when it comes to many of the scenes involving its female character, each one distinct in volume to the trio of personalities.

The same is told in the harsh and rampant score as the men come into fore and action, charging scenes with electricity.

Yet it is the silences, where the violence of men pervades and the innocence of women strikes into independence that haunts you. Those moment would not be visible had the music of the film not been up to point and consistent.

Miti Adhikari, Neel Adhikari and Rhino for Brahman Naman

Apologies first to the original score composers of Brahman Naman, while Iain Cooke was a supervisor on the film's music, he wasn't solely responsible for it. More importantly a shout out to Q's very own Gandu Circus and The Bright Eyed Culprits as well for some of their music.

A score that features equal parts regular music; Jethro Tull's Locomotive Breath and the Door's Alabama Song [rendered here by the voice of Neel Adhikari], reminiscent of period, place and more importantly character of our protagonists. At the same time featuring a pop rock Indian fusion mix of a score.

The Adhikari brothers and Rhino bring a distinct flavour to the score that is at time seductive, popular and very much in tune with the harebrained coolness and craziness with cult sensibilities of its idiotic heroes.

It's fun and scintillating and very much a product of the harebrained mind of Q.

Ajay-Atul for Sairat

Ajay-Atul should simply be here for their absolutely mind blowing soundtrack, not only is it woven into the narrative and speaks to the romantics of the story but is ably supported by a wonderful score.

Parts poignant and painful with parts joyful and light, the ethereal quality of the score transcends the very highs of the romance and the very lows of real tension when the harsh world hits. It's effective in its silence especially in its final reveal and it is magnificently enchanting in the beginnings of a beautiful brewing love story.

Sairat is about and for young lovers and the music and score is very much enchanting to all those ears.

GV Prakash Kumar for Visaranai

Visaranai's power is in its ability to build pathos from what I deem the anti-score.

There is barely any music to enhance the emotion and also undercut it, instead the film is filled with painful silences. Never for once does Prakash Kumar let the subtle score affect moments of true viciousness that the film wishes to imprint into the mind.

As the protagonists are whipped, brow beaten and relentlessly tortured the music never comes to ours or their aid, instead each whip and hit is heard harsh and hard.

It is then that the very silences that normally inject a bit of respite into a film, is where the score comes in; it's final moments, as the action bursts forth, the score still subtle and meticulous in play ramps up to its unforgettable conclusion leaving a different stamp altogether but unifying the horrors of the film and the reality of the situation.

Indraadip Das Gupta for Cinemawala

In Cinemawala, the score is very sweet, supple, natural; it has that distinct Bengali feel to it without having to be pronounced.

Yet it churns out a lot of emotions through its runtime, rarely in this day and age is cinema able to truly provide a score that captures the emotionality of each particular scene and yet never feel forced. These days its to easy to deride the score as trying too hard.

However so, this one absolutely nails it in the head. Maybe that is why the film sparkles off an older generation and the plot mires itself of lost cinema art, that is why the score feels fresh in its capability to mould us to its will yet golden in its tune.

Where the generations can never see eye to eye, the score meets both sides. After all it is music that binds all kinds together.

And the Winner is...

Ajay-Atul for Sairat!!!

And the Magnum opus Marathi film opens the account with a huge win...

Up Next: Indian style Editing at its finest...

'Nuff Said, 

Aneesh Raikundalia

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