Madhuri epitome of grace in Kalank’s ‘Tabah Ho Gaye’
Mumbai: Madhuri Dixit Nene on the dance floor, swaying to a Kathak beat in flaming orange as a group of chorus dancers in bright green costumes join in… Gosh, this should have been the ultimate classical experience from the dancing diva in the eagerly awaited “Kalank”.
Tragically, the song and dance sequence “Tabah ho gaye”, released on Tuesday afternoon, is much ado about nothing. And not a patch on what Saroj Khan did with Madhuri in the “Maar daal” number in Sanjay Leela Bhansali’s “Devdas”, her last memorable dance before she had quit.
It isn’t Madhuri’s fault. The grace is in place. It is the atrocious composition by Pritam Chakraborty that does the purported treat in.
The aesthetics are in place. The colours orange and green with a tasteful Mughal decor is pleasing to the eye. But Pritam’s idea of a ‘Mujra’ song just kills it, in not a nice way.
Has Pritam followed the great tradition of Mujra songs in our films? From Ghulam Mohammed’s “Thaare rahiyo” in “Pakeezah” and S.D. Burman’s “Ab aage teri marzi” in Bimal Roy’s Devdas to Khayyam’s “Dil cheez kya hai” in “Umrao Jaan” and Laxmikant-Pyarelal’s “Sharafat chor dee maine” in “Sharafat” and R.D. Burman’s “Main tawaif hoon mujra karungi” in “Mehbooba”?
Pritam should have sat himself down and savoured these classics before daring to step into the kingdom of the courtesan.
As for the choreography, while the chorus dancers look around uncertainly, Madhuri seems fully in command.
Some experiences go beyond the mediocre circumstances they are put into. This, sadly is not one of them. Madhuri’s innate grace cannot survive the torrent of disgrace that is thrust on her presence.