#mukkabaaz

Sorry for the wait this year. 2018 in the movies mirrored my own life a lot; the films on the list are films to love, make you feel something human, and they force you to take their characters and hold them close to your chest as if they were your own. While the most interesting mainstream movies from South Asia over previous years on this blog have excelled when they chose to experiment with the language of cinema itself, the 10 I’ve written about here have, similar to great literature, embraced pain, longing, love and everything else that comes with being alive.

10. Theevandi

I’ve seen this film being described as an “anti-smoking movie.” I couldn’t disagree more. It’s a story about the nature of habit (rather than the disease of ‘addiction’), of locating the source of your personality, your soul, and trying to change it against the will of nature. During my time in India this year, nothing brought more joy than an ice burst and cutting tea at the side of the road, perching on the side of the pavement and watching life carry on around you. And while this is a film with a main character who wants to quit smoking, it isn’t about cancer. It isn’t about that horrible sooty smell at the end of your fingers, or yellowing teeth or a decreased sperm count. It’s about how something as innocuous as a tube of rolled up tobacco hanging out of your mouth can act as a fragile crutch for the entire weight of the world.

9. Laila Majnu

Like many of my favourites this year (and every year), this re-telling of one of South Asia’s most important romances wants to know what love is. Here, we see love not as a generous, giving emotion, but as pure greed. With one of Bollywood’s most gorgeous soundtracks, that bleeds furiously out of every frame, and a constant sparkling gleam of glamour over these gorgeous young actors and the Kashmiri hills they prance around in, I enjoyed this enough just based on the commercial tropes it toys with for fun. But its real beauty lies in its brave and painful final declaration; that the most divine love may connect you to God and remove your soul from your body, but it will destroy you and your connections to the Earth, as the cruelest form of asceticism.

8. Cake

I’m including a Pakistani movie (again) because our film industries were birthed under one national identity, and I don’t see the studios of Karachi as any more culturally distant from Mumbai’s Film City than Kodambakkam. Moving to Cake, this stunning portrait of a dysfunctional family surprised me against all my instincts that it was a Western-facing production clearly aimed at piercing its way into festivals and a patronising ‘World Cinema’ bracket. It is in fact, a study of shifting societal politics in an increasingly extreme and polarised World, of figuring out where your values stand in the midst of religion, feudalism and globalisation, and accepting that when these heavy, abstract concepts weigh down on your shoulders, it is the human beings around you who will feel the strain first.

7. Golak, Bugni, Bank Te Batua

I really love Punjabi cinema. Seeing it come into its own and reclaim its cultural narratives and aesthetics from bastardizing Bollywood (where now even a film set in rural Gujarat will feature a Punjabi language song) has brought a lot of joy. Now here comes a  happy little film not set on preaching the glory of Sikkhi or telling an epic tale of brave warriors or earnest farmers, but on bringing us into the lives of a middle class Hindu Punjabi family in a small mohalla of a tier 2 city. And these aren’t the Hindu “Punjabis” of a Bollywood movie set in Chandni Chowk, who might throw in a “tussi” or “tuadi” here and there at the most. These are real people with a real culture, as intertwined with Punjab and their Sikh neighbours as they are separate. The film doesn’t patronise them by drawing humour from their novel identity; the situational character-based slapstick and witty back-and-forth theatrical dialogues exist in a warm parallel with the “World” of the movie. And then the lives of these people change in one instant as demonetisation hits, and we are hilariously reminded that whether you’re Hindu or Sikh, Northern or Southern, you are (unfortunately) still in India.

6. C/o Kancharapalem

I won't say this film stood out as a "Telugu movie", as such slight, subtle films are an anomaly no matter what language they're made in or how brash those other films produced in the same mother tongue may be. These small and quiet tales, with their shy characters who live at the fringes of society, whether that mean they are Muslim prostitutes or simple middle class teachers carving out a living in a small village, are special because they manage to transmit such humanity without stirring from the dark alleyways or shaded courtyards where they take place. Not every film needs to stand tall like an intimdsting Tolstoy tome; some can be as unassuming as an RK Narayan novella and still make us feel like they're an epic.

5. Pyaar Prema Kaadhal

Let's be honest. Casting two leads from a reality show, putting heart shaped balloons in your posters and deciding on the title "Love, Love, Love" pretty much screams "trash" doesn't it? But here was a humbling reminder that Indian popular culture can surprise you in the most pleasant of ways. These two good-looking young wannabe-stars and their social media followings represent so much about the "new India", a steadfastly singular culture (or cultures) whizzing through the fiery hoops of globalisation at breakneck speed, coming to terms with a mixed up value system, raging sexual frustration and an ever widening class gap, all of which have left a generation feeling more connected yet more alienated than ever before. This is 'Pyaar, Prema, Kaadhal', a flawed and horny love story, sweating with tension and all the repulsive angst of human emotion, yet with the glamorous musical heart of Indian cinema still beating loudly underneath.

4. Manmarziyaan

There was as much to love about 'Manmarziyaan' as there was to hate. The age-old filmi love triangle rears its head again, only this time with characters who are more manipulative and frustrating than any you've seen in a "mainstream" movie before. But while the film never forces you to judge (at times leaving you confused about whether you're actually supposed to like any of these people) it demands that you engage. It's encouraged some of the finest writing on cinema I've seen in recent years, and such an unashamedly "Bollywood" film inspiring this thrilling thought and analysis from our finest critics (whether their judgement is kind or not) warrants its inclusion on this list alone. Then there's the way its incredible soundtrack weaves in and out of scenes like the characters own breaths, the way life changing moments are obscured from the script by deafening silences and acutely observed minutiae, and of course THAT lead performance. I'm not sure if I "liked" it or not, but I sure as hell can't wait to watch it again.

3. Pari

The better the film, the harder it is to write about. 'Pari' is rich with metaphor. While being a ghost story (and a damn good one) merely on the surface, it has plenty to say about the way our society treats women, poses the question of if we can truly be born evil, and even critiques our savage treatment of "the other" in a global society where more of us are on the run than settled in our homes. But I think its biggest strength is that while it challenges you to reach into the very centre of your being and take a look at yourself and the World around you, its craft and screenwriting is so good that not at any moment does it give you a second to realise that's what you're doing.

2. Rangasthalam

'Rangasthalam' is so great. Like really really great. Once an innocuous muscle man, Ram Charan has channelled his inner Dhanush and located his physicality, writhing and slanging his way into the mind and body of the quintessential South Indian rural hero, hoisting his lungi and flicking his beedi into one of the most visceral and truly cinematic masala movies in living memory. The thumping pace and kinetic choreography (both of the rousing song sequences and the busy, lived-in frames of the rest of the movie) evoke a dusty, violent world with the same panache of Ameer in 'Paruthiveeran' or Sasikumar in 'Subramaniyapuram', while the moustache twirling dialogues and meticulous emotional beats offer as much pure fun as a "Dabangg" or a "Khakee" or any classic Hindi masala movie. I've read pieces linking the cinema of 'Rangasthalam' to film noir traditions, but to me it simply proved that the masala genre still has as much excitement to offer as any other.

1. Mukkabaaz

I'll remember 2018 as the year that Anurag Kashyap, previously India's frontrunner in the realm of "interesting" (but more often headscatching) cinema, stopped thinking with his very big brain and instead used his even bigger heart. His most straightforward film is undoubtedly his best, Hollywood-esque in its writing but firmly Indian in its sentiment. The scale is small - empty boxing arenas, bleak winding village paths and a cast plucked from the TV screen - but its emotions are pure opera. This is a timeless film, and though it laughs at the ridiculousness of modern India, poking a nasty smug finger at caste oppression, petty politics and the bureaucratic nightmare of simply trying to stay alive, it defies analysis. Much like the song at the centre of the story, the violently stunning 'Paintra', it only asks that you feel. And what more could we want from cinema?

January 13, 2019

by Inakshi Chandra-Mohanty

1. October

October is like poetry unfolding on screen. An amalgamation of visual pleasure, a heart-warming score, and some of the strongest, most emotional performances of the year, this film is the definition of beauty. With an extremely simple plot, October thrives on the humorous antics of the eccentric Dan (Varun Dhawan) as he develops an unspoken bond with Shiuli (Banita Sandhu). As the trailer stated, it’s not a love story, but instead a story of love. There is the love between mother and daughter, which is tested time and again as the mother (Gitanjali Rao) is pushed by her brother-in-law to take Shiuli off the ventilator. And on the other hand, there are the selfless emotions that Dan has for Shiuli. His feelings for her are never explained, while what she feels for him can never be known. There is so much more to explore in the film, so many more nuances to touch on, which is why it is the best film of the year.

2. Tumbbad

“So jaa varna hastar aa jayega.” When children cry at night, mothers say phrases like this interchanging the villain (for example, Gabbar Singh), to make the children go to sleep. It has become such a popular phrase in the media, that the Tumbbad writers used it as the catchphrase of their film. This mythological horror fantasy film told in three phases, deserves to be recognized for being one of the most imaginative, surreal films made in Hindi cinema. A combination of frightening visual effects, a heart-racing background score, mindblowing cinematography, and creative storytelling, this film is about a man who encounters a mythological demon while searching for an ancient, hidden treasure in his ancestral ‘haveli’ (mansion) situated in the village of Tumbbad. Behind this unique storyline, is a very basic concept of greed in human nature. However, the film manages to present it in a fresh way. The best aspect of this film is the fact that it is a pure entertainer, which is commercially viable. The regular Indian film-going audience would love this film, if they were taken to see it. Unfortunately there is no known name associated with the film, therefore most of this audience has not even heard of the film, let alone gone to see it.

3. Mukkabaaz

Though many people characterize Mukkabaaz as a film about boxing and the hardships sports players in India face, I believe that it is at its core a love story. The heroine, Sunaina Mishra (Zoya Hussain), is the driving force behind the hero, Shravan Kumar Singh’s (Vineet Kumar Singh), passion for boxing. The first time he sees her he rebels against his good-for-nothing, but powerful coach, Bhagwan Das Mishra (Jimmy Shergill), who also happens to be Sunaina’s uncle, in an attempt to impress her. Throughout the film, his motivations, his passion, and his support all derive from his love for her. And even his decision at the end of the film is for the safety and happiness of Sunaina. His passion for boxing is secondary to his love for his wife, which is proven again and again by his actions. Mukkabaaz is Anurag Kashyap’s first attempt at creating a love story and is much better than his latest film, Manmarziyan, which after a certain point, becomes frustrating. Not only is Mukkabaaz a fresh and unique love story, but it also contains elements of Anurag Kashyap’s trademark style, so no true Anurag Kashyap fan will leave the film feeling disappointed.

4. Andhadhun

For many critics and audience members, Andhadhun is being lauded as the film of the year. It is no doubt a great film. The writing is intelligent for the most part, the direction is crisp, and the performances are phenomenal. But in my opinion it is fourth on this list primarily because I viewed it less in comparison to the other films of this year, and more in the context of Sriram Raghavan’s body of work. If compared to his other films, Andhadhun is closest in style and storytelling format to Johnny Gaddaar. Both are told as flashbacks. Both begin with a small mistake spiraling out of control. Both are an ode to 60s and 70s Bollywood crime capers. Both have elements characteristic of a neo-noir. And both are extremely intelligent edge-of-the-seat thrillers, with twists and turns at every moment keeping the suspense high. However, Johnny Gaddaar has a far tighter script than Andhadhun, especially in the second half where Andhadhun becomes slower and slightly less interesting due to the introduction of less entertaining characters. Therefore, Andhadhun is still one of the best films of the year, but my love for Johnny Gaddaar prevents me from rating it higher on this list.

5. Raazi 

Bias is the biggest weakness of any film based off of real events. The director’s most difficult obstacle is to not let his/her own views reflect on the objectiveness of the story, while still keeping the emotions intact. With Raazi, Meghna Gulzar has so brilliantly manipulated the audience into empathizing with every character in the film, regardless of nationality, therefore feeling patriotism regardless of country. After watching this film, you won’t hate Pakistan, nor will you hate India. You will just hate war altogether. Everyone will leave the theater feeling patriotic with no specific country in mind. Raazi follows the character Sehmat (Alia Bhatt), the daughter of an Indian spy, who gets married to a Pakistani military officer, Iqbal Syed (Vicky Kaushal), in order to gather information on the Pakistani military plans during the Indo-Pakistani War of 1971. Sehmat is such a well-written character with multiple dimensions. On one side, she is bound by her patriotism towards India, and the promises she has made to her father. And on the other hand, her growing love and affection for her husband and his family comes in the way of her mission. Ultimately, she is torn between these two and can no longer distinguish between right and wrong. There are very few films, which explore so many emotions and so many different sides to an issue with minimum bias, and Raazi is one of them.

6. Mulk

In the current times, when the Hindu-Muslim animosity is still fatal, and when anti-Muslim hatred is spreading widely throughout the world, a film like Mulk is essential. The film explores the backlash and ostracization Muslims face from Hindus and even from their own community, when the word terrorism is applied to a member of their family. After his nephew, Shahid Mohammed (Prateik Babbar), turns to terrorism, it is up to a respected advocate Murad Ali Mohammed (Rishi Kapoor) and his daughter in law Aarti Mohammed (Taapsee Pannu) to reclaim their family’s honor and fight for their prestige, as the whole family is prosecuted in court on charges of terrorism. The issues discussed in Mulk are tackled with sensitivity and minimum bias by writer-director Anubhav Sinha, and are made to resonate with the audience through the poignancy of the film. The film is not a landmark film, but it is an important one and hopefully it will allow people to gain a broader understanding of the type of anti-Muslim hatred that plagues the country.

7. Laila Majnu

It is very difficult to recreate a timeless, epic love story in a period where in film, practicality and realistic situations have begun to take over the classic notion of love. Making people believe in the intensity of emotions and craziness of love is a complicated task. The plot of Laila Majnu is a basic love story, boy meets girl, they fall in love, and their family enmity causes obstacles in the path towards their union. The first half is full of clichés yet remains fresh because of the new faces, the beautiful music, and the strong chemistry between the leads. However, it is the daring second half, when we see the love being torn apart, where Majnu’s separation from Laila causes him to succumb to depression, that makes this film worthy of being on this list.

8. Stree

After Bhool Bhulaiyaa, here is another brilliant horror comedy that has truly left the audience frightened by some scenes but has also managed to make them laugh extremely hard in others. A town is terrorized by a woman, called Stree (Flora Saini), who abducts men, leaving their clothes behind, and Vicky (Rajkumar Rao) attempts to solve this mystery and rid the town of ‘Stree’ forever. The three male leads, Rajkumar Rao, Aparshakti Khurrana, and Abhishek Banerjee, as well as Pankaj Tripathi have impeccable comic timing, which is supported by the hilarious dialogues. And yet the film still lives up to its role as a horror comedy since it is filled with scary moments and jump scares, the essence of which are not affected by the comedy. Stree is an overall entertainer, and its box office success is proof of that.

9. Pari

Pari was harshly criticized by film critics and the audience because it promised a horror film, yet it was not scary. However, its approach at creating a unique universe and widening the imagination of the audience is commendable. Pari is the story of a man, Arnab (Parambrata Chatterjee), who takes in an apparent victim of abuse, Rukhsana (Anushka Sharma), after her mother is killed in an accident caused by his car. However, everything is not as simple as it seems and soon Arnab realizes he has been dragged into a very dark world filled with conspiracies and supernatural forces. The line between good and evil has been blurred, and he no longer knows whom to trust. Though not scary in the moment, it leaves people with nightmarish thoughts and goosebumps afterwards, as the concepts and characters, which are thoroughly developed, are quite frightening. It would have been on the same level of Tumbbad if not for the weak script that completely derailed in the second half. However, despite that, the film works, partly because of the daring to try something new, and the brilliant performances, especially by Anushka Sharma, which will continue to haunt you for days.

10. Blackmail

The crudity, absurdity and almost ludicrous scripts are often a fodder for ridiculing the mass production of what can be called conspicuous crap we are served almost every Friday.

But as the age old adage in content goes, "जो दिखता है, वही बिकता है", if good movies fail to garner footfalls, who is to blame!

You, of course.

I watched Mukkebaaz today. It is a travesty that this amazing movie, notches above so many recent average blockbusters failed to be a money churner at the Box Office. This social satire weaves in itself a heart touching love story, some stupendous acting skills and street smart dialogues, it's an absolute pleasure to watch.

Anurag Kashyap is a brilliant story teller and Vineet Kumar Singh, whatta muse. The mute girl's spunk is so fabulous, it feels if she would have a dialogue in the film, it would somehow wear the sheen off those oh so emotive eyes.

If you want to somehow contribute to good cinema, go watch this movie.

Bharat Mata Ki Jai.

January 13, 2019

by Inakshi Chandra-Mohanty

1. Avinash Tiwary - Laila Majnu

The best performance this year is the heart-wrenching portrayal of Qais (Majnu) by Avinash Tiwary. The descent of Majnu into craziness is one of the most essential and unique elements of the classic Laila-Majnu tale. Making it believable is the difficulty since people becoming mentally ill in love is not a common phenomenon. But thanks to Avinash Tiwary’s desparate eyes, and his weak smile after Majnu undergoes a spout of depression, Majnu’s sadness and his search for pure happiness through his visions of Laila seem believable. If not for his performance in the crucial second half, the film would have remained clichéd and never have been considered one of the best films of the year.

2. Zoya Hussain - Mukkabaaz

Zoya Hussain doesn’t say a word throughout the film. Yet, her performance as Shravan’s (Vineet Kumar Singh) mute lover, is the thread that holds the film together. Her character is the most important in the film as she is the motivation for Shravan’s initial rebellion against Bhagwan Das (Jimmy Shergill), which ultimately leads him to pursue boxing as a serious passion. The climax is also motivated by his love for her. She expresses so well with purely her eyes, whether it is the scene where she glares at her uncle (Bhagwan Das) with confident hatred in her eyes after he slaps her, or the scene where her eyes are wide open and bright in happiness after she meets a friendly man who can speak to her in sign language. Though Vineet Kumar Singh is equally as brilliant in the film, she dominated every scene they shared together which made him less noticeable in those scenes. She has potential to do much greater work in the future and hopefully her voice will have the same emotive impact as her eyes and face.

3. Alia Bhatt - Raazi

One of the most difficult things to master as an actor is the art of crying. If done wrong, an otherwise emotional scene can look contrived and caricaturish. Alia Bhatt in the character of Sehmat has proven herself once again with one of the strongest, most memorable performances of her career. The complex character was one of a sly spy unable to balance her patriotism for her country with her growing love for the family and people who have continuously treated her as their own. In multiple scenes, Alia Bhatt has been able to make the seamless transition from an emotionally distraught woman in one moment to a smart calculative spy in the next. Every frame of the film is the standard for perfection thanks to her fantastic performance.

4. Gitanjali Rao - October

A mother is torn apart by the deteriorating condition of her daughter, Shiuli, yet still has hope that maybe her daughter will recover one day. Despite pressure from her brother-in-law to take Shiuli off the ventilator, she refuses to lose faith, also due to huge support from Dan. Gitanjali Rao has completely immersed herself in this complex character. Her subdued tears and subtle emotions draw the audience to empathize with her. Despite the film’s focus being the relationship between Dan and Shiuli, in all the scenes that she is in, Gitanjali Rao shines above all the others.

5. Tabu - Andhadhun

Andhadhun is one of the best films of the year because of the intelligent script and crisp direction. The performances were only a supplement to the brilliant writing. However, one performance stood out above the script and that was that of Tabu as the shrewd, manipulative Simi. Tabu delivers such an efficient performance that in one scene she is able to make the audience despise her, such as when she instigates Radhika Apte against Ayushmann Khurrana, while in the next she is able to make us sympathize with her, such as when she tries to convince Ayushmann Khurrana that everything was an accident. Her perfect poker face does not allow the audience to ever understand what she is thinking and that is the most essential factor in a role like this where the audience in never supposed to be able to guess Simi’s next move.

6. Vineet Kumar Singh - Mukkabaaz

After 16 years of struggle, while doing small roles in film, with his only noticeable roles being in Gangs of Wasseypur and Bombay Talkies, Vineet Kumar Singh, finally got a chance to shine as the lead character in Mukkabaaz. To prep for the role, he went through extensive training to actually become a boxer so that the action in the film seemed realistic. He even excelled in the emotional scenes. Never has man crying on screen been so moving and heartbreaking, as when Vineet Kumar Singh is frantic while searching for his missing wife. He can also portray multiple different emotions so effortlessly, whether it is jealousy when he sees the woman he loves with another man, or innocent happiness, when she finally begins responding to his desperate flirting. Vineet Kumar Singh is definitely an excellent actor and it is a shame that he has had to wait so many years to finally get a chance to prove his mettle.

7. Sohum Shah - Tumbbad

Even though Tumbbad is in my opinion one of the best film of the year, I still felt that most of the actors were average and the film worked mostly because of an amazing script, beautiful visuals, music that fit the tone of the film, and strong direction. However, if the lead actor didn’t embody the character and deliver a great performance, the film would not have worked despite all these positives. His character goes through so many phases, beginning as a young fit man, fresh with greed in his mind, and ending as an older weak man, who is far more mature but even more greedy, so much so that he doesn’t realize when the greed begins to take over his life leading to his downfall. Sohum Shah has portrayed every emotion with perfection, from greedy happiness at finding the treasure, to anger at his son’s foolishness, to revenge at the man who tried to teach him, to finally fear for his son’s life.

8. Vicky Kaushal - Love Per Square Foot, Lust Stories, Raazi, Sanju, Manmarziyan

This has truly been a breakthrough year for Vicky Kaushal. After Masaan, which shot him to fame, he had done a few films but none that received commercial recognition. However, with five commercially viable films, this year, he has definitely made an impact on the audience. Hence, it is difficult to pick just one of his performances as the best of the year. Whether it is the flirtatious lover boy, Sanjay, in Love Per Square Foot, or the easily satisfied Paras in Lust Stories, or the husband to a spy, Iqbal, in Raazi, to the faithful friend, Kamli, in Sanju, to finally, the eccentric, commitment phobic DJ Vicky in Manmarziyan, every single role of his has been remarkable.

9. Rasika Duggal - Manto

Manto, though a very well made film, is not, in my opinion, one of the best films of the year, mainly because of a weak script with largely underdeveloped characters. However, it was filled with phenomenal performances by all the actors, including the supporting actors who only had a few scenes in the film. Yet, one performance stood out above the rest, and that was of Rasika Duggal as Safia, Manto’s wife. She was the only character apart from Manto that got a significant amount of screen time. She was able to portray the sweet, simple side of Safia, as well as her growing irritation at Manto’s drinking problem, which ultimately leads to strain on his mental health. With her unique voice and subtle facial expressions, Rasika Duggal makes a solid impact on the audience.

10. Anushka Sharma - Pari  

January 6, 2019

by Inakshi Chandra-Mohanty

1. Amit Trivedi - Manmarziyan

In a year when Amit Trivedi presented music for over 10 films, Manmarziyan is a clear winner. Consisting of 14 songs, including the unplugged version of Daryaa, this album has soul, passion, angst, and love. The film begins with the soft Grey Wala Shade, which not only sets the mood for the film, but also introduces the passionate affair of Rumi and Vicky in the heart of Amritsar. The film then transitions to F for Fyaar, which is a Punjabi rap representative of Vicky’s personality and his desire to be a ‘cool dude.’ Later, the peppy song Dhyaanchand, also shows off Vicky’s eccentricity as he dances following Rumi through the inner streets of Amritsar. Robbie’s grey shades are also represented through music, with Sherni, depicting his need to possess Rumi, and Bijlee Giregi, acting as a background to his conflicting feelings, when his trust is broken. There also exist some beautiful romantic, soothing numbers, such as Sacchi Mohabbat, Jaisi Teri Marzi, and Choonch Ladhiyan, which are used to express the growing love amongst all three characters, thus making the love triangle even more complicated. And lastly, there is the powerful and soulful Daryaa, which is the most important song of the film as it represents Rumi’s fickle emotions, which form the basis of the film. With a great quantity of songs, one would expect a few songs to be of lower quality. However, the beauty of this album is that every single song is crafted to fulfill a role in the film, hence making it the best album of the year.

2. Niladri Kumar, Joi Barua, Alif - Laila Majnu

The essence of Laila Majnu lies in its music. No tragic romance is complete without a set of heartbreaking melodies. The soundtrack of this film is unique because it is difficult to emotionally connect to it without the context of the plot and the picturization of each individual song in the vast hills of Kashmir. However, after completing the film, it is impossible to remove these soulful, melancholic melodies from the heart. The music is a supplement to the ongoing love story between Laila and Qais (Majnu) on screen, highlighting the strength and audacity of their love to withstand obstacles in the form of their family, separation, distance, and everlasting wait. Songs like Tum and Sarphiri, signify the transition from Laila’s initial curiosity to slight attraction, eventually leading to true love. On the other hand, there are Aahista and Hafiz Hafiz that focus entirely on Majnu and his transcendental craziness due to the increasing loneliness, once he has grown tired of waiting for Laila. Each and every song represents a different form of the powerful love between them, which is even more necessary when translating a classic, epic, romantic tale. There is also my favorite song of the year, the absolutely addictive O Meri Laila, which consists of classical rawness in its most bare moments, but emerges victorious through the rock-style leading stanza that is so beautifully voiced by Atif Aslam.

3. Amit Trivedi - Kedarnath

Despite having a fewer number of songs in comparison to the other albums on this list, Kedarnath, is able to provide an extremely wholesome album. It is the only one that has five or less songs and yet is still able to encompass a full range of stylistically different tracks. It includes a peppy dance number, Sweetheart, that is reminiscent of the melodic dance numbers that we have forgotten in this era of remakes and rapping. But along with that, it has two beautiful, soothing melodies and a religious track, which delves into the realm of Indian classical music. Amit Trivedi has yet again proven his versatility by providing a set of songs that are so different from one another, yet are able to come together to further enhance this film.

4. Amit Trivedi, Raftaar, Girish Nakod - Andhadhun

If you are a fan of Sriram Raghavan, you must know that he is obsessed with old Bollywood films, especially those from the 60s and 70s. His films, specifically Johnny Gaddaar and Andhadhun, have contained numerous references to older films. Therefore, while composing this soundtrack, Amit Trivedi paid homage to the classic old film songs. Song like Aap Se Milkar and Naina Da Kya Kasoor carry shades of the melodious numbers from the 60s and 70s. Naina Da Kya Kasoor specifically bears resemblance to the R.D. Burman hit song O Mere Sona from the 60s Vijay Anand film Teesri Manzil. To create balance in the album, he also includes some modern numbers such as the energetic Laila Laila, and the dark Wo Ladki, which uses a full orchestra of instruments to create a magnificent, epic effect. The best part of the music from this film is that all the songs are heavy on piano, unlike most Hindi songs, since the main character is a pianist, and the songs are picturized on him.

5. Rachita Arora, Nucleya - Mukkabaaz