Popularity pays

Superhit Scores

He has been dismissed as an unoriginal music director. But the masses say otherwise.

The number of hits Pritam has to his credit is staggering. Right from Dhoom machaa le to the recent Character dheela hai, Pritam has become synonymous with popular music. He began his musical career as part of the Jeet-Pritam duo by composing music for Tere Liye (2001) after doing several television shows.

And when his partner Jeet Ganguly decided to part ways after just three films, Sanjay Gadhvi and Aditya Chopra signed him for Dhoom (2004). But even before Dhoom machaa le rocked the musical charts in India, it was Sharara sharara (from Jeet-Pritam’s Mere Yaar Ki Shaadi Hai) that had become a rage not just in India, but abroad too.

After Dhoom, Pritam moved ahead, giving stiff competition to reigning composers like Anu Malik and Himesh Reshammiya. After hit scores in many films including Gangster, Woh Lamhe…, Dhoom:2, Life In A…Metro and Jab We Met, as well as songs like Dil mein baji guitar (Apna Sapna Money Money), Pritam was recognised as one of the top music directors in the Hindi film industry.

Consolidating his strong position was his consistent track record of popular numbers from films like Bhool Bhulaiya, Singh Is Kinng, Race, Kismat Konnection, De Dana Dan, Love Aaj Kal, Ajab Prem Ki Ghazab Kahani, Tum Mile, Once Upon A Time In Mumbaai, Action Replayy and many more.

As critics condemned his inspired songs, the music director showcased his versatility as well, with the folksy Billo rani (Dhan Dhana Dhan Goal), Mere dholna (Bhool Bhulaiya), the raag-based Jaane kya bole man (Pyaar Ke Side/Effects), the sonorous Falak dekhoon (Garam Masala), the infectious Khalish si hai (Chocolate) and Pyar mein (Thank You).

Among 80 films within eight years, Pritam has done four or more films each with Abbas-Mustan, Mukesh Bhatt, Rohit Shetty, Tips, Venus, Priyadarshan, Vipul Amrutlal Shah and Aditya Chopra. Like with every music director who sashayed to the very top, Pritam rarely won awards or critical appreciation. “It was a clear choice that I made at the beginning of my career — create popular songs and garner mass appreciation instead of being recognised by just the media and a few award committees,” he stresses.

What does he have to say about remixing or recreating old hits? “I am against rehashing age-old classic songs. I turned down the offer to rework the title track for Aa Dekhen Zara because I felt I could not do justice to it, but I quite liked the concept of Parda parda in Once Upon A Time In Mumbaai.

It was an original song created by mixing two old songs, Duniya mein logon ko and the refrain of Monica, o my darling. I thought that I could do something with Pyar lo pyar do in Thank You, but somehow, that song did not do well. But I have never received so much flak in my life as I did for the title song of Dum Maaro Dum. However, I stand by the song. Director Rohan Sippy liked the idea of letting go of the melodic content but I guess, that’s the very reason why it was not appreciated.”

Pritam has now signed his first film with Aamir Khan and another project with Salman Khan (Dhoom:3 and Ek Tha Tiger), Saif Ali Khan’s and Shahid Kapoor’s home productions, Agent Vinod and Mausam respectively. He is also working on Anurag Basu’s Barfee, Abbas-Mustan’s Players, Rohit Dhawan’s Desi Boyz and Homi Adajania’s Cocktail starring Saif Ali Khan and Deepika Padukone. There is also Vidhu Vinod Chopra’s Ferrari Ki Sawaari.

How does he build that musical connect with the masses? He says, “I think it has a lot to do with luck. We certainly cannot calculate in film music. My only aim is to give every song I compose my signature style, but I certainly do not sit down and create a melody with a strategic approach.” He adds thoughtfully, “I also listen and react to my song as a listener and not a composer. The idea is to create melodious songs which will always connect with music lovers and not follow a trend.”

How does he actually compose a melody? “With the song situation in mind, I start composing on my guitar. Then we get to the individual lines and fine tuning. I also prefer, if possible, to fix the phonetics, which has a major role to play in the final piece of music and its acceptance. I am not good with Hindi and I always tell my writer, ‘I will look after the phonetics. You look after the essence and meaning’.”