TUM MILO TOH SAHI, a docile multiplex entertainer falls in this cadre of 'feel-good' realistic cinema and brings the pairing of Dimple Kapadia and Nana Patekar in the lead roles. This actor turned director Kabir Sadanand directed flick pitches three different generations of characters, carrying varied shades of love, emotions and compassion. Low profile, minimal expectations and mild promotions have always been roadblocks for this genre of films but melodious music have always made them sparkle. Sandesh Shandilya along with eminent lyricist Irshad Kaamil, gets this 'hard-nut' to crack to make things sparkling for this 'human-relationship' special flick. Can they do it in style? Can we expect TUM MILO TOH SAHI to be surprise package in its segment? To answer, let's say 'tum sunoh to sahi' to analyze the musical facts…
Anything can happen over a cup of Coffee! Now that sort of frisky and lighthearted youthful sentiments get sprayed in Shaan's soothing baritones in the title track 'TUM MILO TOH SAHI'. It goes downhill into memories of Shaan's Indi-Pop days with subtle soft rock arrangements with dash of jazz taking over the groove.
Sandesh Shandilya's peppy sounding composition sounds too weak in present context to evoke romanticism but still appreciates the pep-factor in the album. Even Irshad Kamil's jocularly exuded wordings prove too insufficient to raise its prospects. Finally there is some quality singing by dependable Shaan that can be relished but won't be adding any big merits to his impressive listing of hit tracks.
Raghav Sachar takes second bow in glorifying the title of the flick by setting mood into tizzy with rapturous pop disco beat flavors in hip-shaking 'O Jaanemann'. It sounds more of a dance-party feast number with extra-enthused disco-beat fillers added to pump out discotheque feel. Shandilya's lackluster display continues with extra jarring sounds of drumming and routine guitar, saxophone works, giving it an outmoded look.
The subtlety of romantic expressions takes a mature route with modernized 'ghazal-gayaki' in mellowed instrumental textures in average sounding 'Bekhauf Mohabbat'. Kunal Ganjawala's oozing voice comes in lower octaves with mild blend of soft rock cum jazz in the backdrop. The added dollops of sensuous feminine chorals and intermittently exhibited saxophones notes are exuded well but fail again to make this an impressive ballad. Shandilya's fusion melody proves to be big disappointment for Kamil's prosaic lyrical works and together it comes out as filler for the romantic situation.
Subramaniam is unceremoniously dumped at retirement by his boss. It is in this state of mind that he crosses paths with Delshad in a department store where all hell breaks loose. But it is Delshad who sees the love bundled inside Subbu's heart and tries to loosen the strings. When the chips are down for Delshad, it is Subbu who fights her case for her.
Both Nana and Dimple stand out in their performances. He, as the eccentric, retired clerk who is a loner and she as the lovable bawi. Perfect diction delivered with panache. Dimple brings Delshad alive on screen.
Rating – 2.5/5
