The sound & fury of cinematic music

It’s not a secret that cinema has the power to provide escapism from an increasingly myopic, terrifying and suffering reality. It can also shine a light on societal taboos or make an effort to do both with a single stroke. The result can be anything from riveting to confusing. Pakistani cinema, which has crossed more than a decade of revival, beginning with Khuda Kay Liye in 2007, doesn’t always get its execution right. But when it comes to original soundtracks, especially of KKL and beyond, the outcome is much more positive and polished.

Even as film music directors/producers push the boundaries of what is expected from the genre of film music, more good has emerged than expected. The genre has had the power to rescue many talented artists from obscurity by providing a new platform where fans are introduced to artists, old or new, in a much more minimal or elaborate fashion - depending on the demand of the script.

Films may have come and gone but the OSTs we consider notable are ones that have more than one good song to offer, and remain unforgettable. In an age where we suffer from an overdose of content, these soundtracks are proof that in terms of music, Pakistani cinema is going in the right direction. In the end it is about understanding the nature and nuance of a script and characters to produce music that complements a film rather than simply working as a promotional tool.

“Are we ready to be swept off our feet/And stop chasing every breaking wave” - ‘Every Breaking Wave’ by U2

Allahyar and the Legend of Markhor

Our list begins with the underrated soundtrack of the animated film, Allahyar and the Legend of Markhor. With Ali Noor and Natasha Humera Ejaz singing two songs each, you’d think it would’ve made a lot more noise than it did. The film’s real gems include the title track, ‘Allah Allah Bol’ which is sung and composed by Ali Noor and is about children’s relationship with God. That is a theme that isn’t as easy to master but this song does it right. The song also introduced us to what would follow it: the newer sound of Ali Noor heard in the EP called Pagal. The film is also backed by a cover version of the classic Zoheb Hassan track ‘Muskraye Ja’, sung by Natasha Humera Ejaz who owns the song with her unique vocals. The music of Allah Yar and the Legend of Markhor also features two more songs, one each from Ali Noor and Natasha Humera Ejaz, who also lend their voices to pivotal characters.

Superstar

In a film that redefined the acting prowess of Mahira Khan and paired her with Bilal Ashraf for the first time, the soundtrack of Superstar only added to this cinematic outing by being complementary to the film. More to the point, it did so while retaining the effect of a score that often feels missing from Pakistani cinema’s musical releases. Featuring the likes of Atif Aslam, Asim Azhar, the big names are certainly there but the OST’s tour de force is the lush ‘Noori’, delivered in astonishing fashion by Sunidhi Chauhan and Jabar Abbas. Along with the mighty ‘Bekaraan Dil’ sung with great heart by Ali Sethi and Zeb Bangash, these two songs from Superstar are among the glittering diamonds of Pakistani cinema, musically speaking.

Ho Mann Jahaan

A slice of life story about three college-going students, who hope to follow music as a passion among its larger themes, Ho Mann Jahan (HMJ) had a star-studded ensemble cast featuring Mahira Khan, Adeel Hussain and Sheheryar Munawar with special appearance by Sonya Jehan. Though the film may have received mixed reviews, its music was another ballgame. With a slew of artists appearing on the soundtrack, such as Mai Dhai Band, Zoheb Hassan, Atif Aslam, Zeb Bangash, Asrar and Tina Sani, the album’s unmatchable tracks include ‘Barish’ by Jimmy Khan with its easy-breezy composition and lyrics and the powerful ‘Ghar Nari’ by Fareed Ayaz.

Zindagi Tamasha

It is a tragedy when a film is made by someone like Sarmad Khoosat, sent to the Oscars by Pakistan’s Oscar committee, but remains largely unseen by the populace on the basis of how its content may or may not be dangerous to our collective psyche. The irony is that the opposite is true. Irrespective of its lack of screening, Zindagi Tamasha enters this list on the basis of the music that was produced by Saakin and Shamsher Rana.

Though the soundtrack doesn’t contain too many songs, what it lacks in number is made up by the two major songs from the film. The cover version of ‘Zindagi Tamasha Bani’ by Nimra Gilani is an introduction to a female singer who is undoubtedly amongst the most elating voices to emerge in a decade. Even though it is a cover, the song’s production and Nimra’s delivery makes it almost as unique as a new song. The tour de force is ‘Aj Sik Mitraan’ that – while based on a kalaam – is majestic in its presentation. There are moments in this rendition by Saakin where singer Usman Shakeel hits notes that are absolutely magnetic. Saakin’s handling of this kalaam with such sensitivity elevates the OST to a landscape where the songs will be remembered – with or without a listener having seen the film.

Khuda Kay Liye

At a time when making contemporary films was a mere thought, Khuda Kay Liye – directed by Shoaib Mansoor and released by Geo Films – gave people a film worth watching. Dealing with the subject of terrorism and fundamentalism in a post 9/11 Pakistan, it made us pause. In hindsight it did have technical glitches but even those cannot take away from the film’s iconic soundtrack. The complete album is backed by several memorable songs such as ‘Bandeya Ho’ and ‘Tiluk Kamod’ but its best songs include ‘Khuda Kay Liye’ (sung by Ammar Hassan) and the Saeen Zahoor-Faiza Mujahid track, ‘Allah Hoo’, which was produced by Rohail Hyatt pre-Coke Studio. Irrespective of where your politics lie as far as KKL is concerned, there is no question that it is among the best OSTs to emerge from cinema. With Shoaib Mansoor also serving as the chief lyricist, KKL reminds you of what cinematic music should be like.

Parey Hut Love

Some say this star-studded film never got its due. Others disagree. But no matter where you stand on this debate, Parey Hut Love is heavy on the musical quotient. The soundtrack by Azaan Sami Khan contains everything from qawwali to romantic tracks like ‘Behka Na’ along with a range of strong singers. It’s a recipe with which the PHL soundtrack thrives and checks all the right boxes. Songs that shine most include the Jimmy Khan track ‘Haye Dil’ and ‘Morey Saiyan’ that was sung in such exquisite fashion by Zeb Bangash that it lingers in the corners of the mind.

Laal Kabootar

For Kamal Khan’s excellent directorial debut Laal Kabootar, Taha Malik produced as gritty a soundtrack as the film needed it to be. Featuring Ahmed Ali Akbar and Mansha Pasha as the film’s main leads, this crime-based drama is backed by music that complements it well. Set against the brutal backdrop of Karachi, the original soundtrack’s chief success is the song ‘Jug(Art)’ by Taha Malik ft. Jabar Abbas and the title track, ‘Laal Kabootar’ by Taha Malik ft. Zoe Viccaji. On a film soundtrack that features the likes of Mai Dhai and Sanam Marvi, these songs reflect just how good Taha Malik is and how far he has come from producing the debut album for Mauj. Both songs ride on Taha’s voice who is a welcome addition as a singer to the critically-acclaimed Pakistani film that was released by Geo Films.

Cake

For a film that went against the grain with how it projected itself right from the start, right from its unique posters that were designed by visual artist Samya Arif, to its visuals courtesy cinematographer Mo Azmi, Cake was a social-and-familial drama with intriguing characters and a nuanced plotline.

With actors as strong as Sanam Saeed, Aamina Sheikh and the ever-popular Adnan Malik as the film’s main leads, the soundtrack by The Sketches was both surprising, exhilarating and befitting of a film of such high calibre. With a strong focus on the presence of folk artists, the Cake OST featured the likes of Bhagat Bhoora Lal, Shamu Bai, Zanwar Hussain and The Sketches. But even with beautiful folk songs, in retrospect the songs that define Cake include ‘Meri Dunya’ and ‘Bol’ by The Sketches. The rendition of the tracks by the band’s folksy singer, Saif Samejo, is both intimate and akin to a lullaby.

Moor

Directed by Jamshed Mehmood Raza, better known as Jami, Moor’s underlying theme was loving a country that may not love you back, to me any way. For such a devastating film, its music needed to be just as devastating, with moments of lightness. Now-defunct Pakistani music group, Strings, who produced the soundtrack managed to highlight those emotions rather well. With two songs from Strings, two from Javed Bashir, one from Meesha Shafi, one from Rahim Shah among others, this was a big effort musically. This entire album is a collector’s item. But our top favourites are Javed Bashir’s haunting ‘Jogiya’ and Meesha Shafi’s boisterous ‘Eva’ showcasing the diversity within this album.

Manto

With a soundtrack co-produced by Jamal Rahman, Manto is among the finest and most beautiful soundtracks to release in a post-revival cinematic universe. The music could’ve been left to chance but Sarmad Khoosat didn’t think so and we’re grateful he didn’t. While the film consists of four songs, the ones we continue to cherish and are confounded by often include the 50s-esque jazz-evoking tune, ‘Kya Hoga’ sung by Ali Sethi and Zeb Bangash with just the right amount of playfulness and uncertainty and the darker, intimate ‘Mehram Dilaan De Mahi’ sung in an emotive manner by Meesha Shafi. While one creates a sense of joy, the latter pulls you into an existential hour. Given the nature of the film and its subject, the great Urdu writer Saadat Hasan Manto, the latter has unique and arresting musical elements, much like the unique and arresting writing of Manto.