The outro in particular, a la ‘Masakkali’, is inexplicably enchanting. is sure to pull one back irrevocably to the song. If not K.Zia’s vocalisation, the humble instrument wielded by Dr. While the violin and viola have been the preferred primary accompaniments in most songs, the harmonica takes centre stage here. Berlin-based singer K.Zia is appropriate, crooning huskily all whilst evoking an innocuous sensuousness in her rendition. ‘Silent Cat’ is as soul stirring and mushily frisson inducing as Justin Hurwitz’ irresistibly resplendent ‘City of Stars’ from the Oscar raiding 2016 musical La La Land. The harmonica augments the song but it’s the bipolar violin piece that elevates its illusory countryside mien into a mildly more complex territory. ‘Ezhutha Katha’ has Sushin Shyam himself flirting with the mic crooning an amiable melody. The rhythm is funky and the transitory orchestral pieces, nominal, albeit commendable.
Sooraj, as the song progresses, sounds eerily like Sid Sriram, courtesy the nasality in his voice, but in no way hampers the song. The effortlessly contagious melody, simple in production and ample in groove accumulation, is the catchiest of the soundtrack. ‘Uyiril Thodum’ is the quintessential love ballad with the ever so dependable Sooraj Santosh and Anne Amie, both in fine fettle, at the helm of things. The end products on both occasions, have been chasmic and cathartic.
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Bindhumalini achieved something similar in another recent gem, ‘Bhaavalokada’, from the Kannada movie Nathicharami, with actor Sanchari Vijay in a deeply effective cameo towards the outro – also complementing the song’s predominantly female vocalisation. However, what really makes the song worth the unanimous acclaim is the way Sushin flawlessly builds and leads his song into an unexpected male vocal outro that acts as the perfect crescendo. The production, especially courtesy the viola (a top-notch Danny John), is extremely redolent of Gustavo Santaolalla’s works in particular, the incredibly heart-rending ‘The Wings’ from Brokeback Mountain. The song starts off in an ambient and acoustic setting, only to tenderly transition into its atmospheric chorus that minimalistically sticks to the tune hummed out by Sithara. Here, she gleefully takes a backseat and lets Shyam’s orchestral efforts shine but she also pitches in by being at her evocative, melancholic best. Sithara Krishnakumar has carved a niche for herself in an industry that has historically drooled over conventionally sweet female voices. ‘Cherathukal’, already being hailed as the song of the year, is a languorous affair surprisingly, it doesn’t exploit its vocalist’s terrific range. The songs seem to capture the essence of multiple international artists, inadvertent in all probability and roots them to Kumbalangi and its flavorful locality. With Kumbalangi Nights, he gifts his team a score that effortlessly elevates the universality of the movie. Many of Shyam’s songs lend a truly international touch. Be it ‘Thambiran’ from Ezra or ‘Nee’ from Varathan, the composer has been inimitable, dynamic and telluric. Sushin Shyam, a member of the Bangalore based metal outfit The Down Troddence, has had a phenomenal rise over the last few years as a composer. The film gets mighty contribution from an artist who hasn’t been receiving as much acclaim as these men. Narayanan’s sensational directorial debut, Kumbalangi Nights. A few of the names that have been consistent in this transitional and revolutionary phase in Malayalam cinema – Shyam Pushkaran, Fahadh Faasil and Dileesh Pothen – are all a part of Madhu C. These have caught the fancy of not just the average Indian cinephile, but also an international niche that feasts on Indian movies with much gusto. There have been a few elementally international movies out of Kerala, especially in the last decade or so Sudani From Nigeria, Ozhivudivasathe Kali, Thondimuthalum Driksakshiyum, Ee Ma Yau, Maheshinte Prathikaram et al. Apparent efforts are underway in Malayalam cinema to defy all conventional language barriers and to appeal to a global audience that is inundated with extraordinary content courtesy Netflix and other OTT platforms.