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Keeravani doesn't innovate with his instrumentation and the tuning is quite hackneyed. Sonu Nigam and Teesha Nigam are refreshing. The tune swings are interesting, though the song itself seems to be a bit lengthy. A must listen this.Īrtists: Sonu Nigam, Teesha Nigam, MM Keeravani The lyrics are for the layman and the scholarly devotee alike. SPB and Sunitha's melancholic voices breathe life into this doleful devotional song. Despite that ring, the song's simplicity strikes you. The lyrics are entertaining.Ī similar tune was done by Keeravani years ago. Hariharan's voice comes with less of a nasal twang and more of a soulful tinge. The tune is catchy for any sort of listener. Deepu and Aditi Paul are good in their vocal performance. It is slow and definitely not for a KRR film.
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The slow song makes for an album brought out by a temple devasthanam or a baba ashram. Shweta Pandi's vocals add soul to Keeravani's tuning and instrumentation. Really melodious and tuneful, the music is forceful.
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Keeravani's voice is filled with earnestness and love. Like all those numerous devotional numbers, it speaks of the Deity's omnipresence, His dwelling everywhere and the like. An enjoyable one, though there is lack of novelty. The lyrics speak of the unity of God and religions. It begins with Nag saying 'Sab ka Mallik ek hain.' Shankar Mahadevan's vocals evoke a sense of deja vu, reminding us of the Allah song from Sri Ramadasu. Sunitha is at her mellifluous best she chips in with her voice towards the end when the mood takes a turn.Īrtists: Akkineni Nagarjuna, Shankar Mahadevan Saranu Saranu must be a song placed in the first leg of the film. The lines speak of the miracles that Sai is associated with in popular tales. The lyrics would not come across as anything pleasantly new to the listeners of common Hindu devotional songs, especially made in praise of gurus. The 45-seconds, short devotional ditty is a hymn to Sai. The sings do a fantastic job, and Sonu Nigam and Hariharan come as essential surprises. The lyrics will form part of the devotee's collection. For a good measure, Shirdi Sai's songs sound like a well-made devotional cassette brought out by a 'devasthanam.' There are songs befitting the stature of MM and KRR too, but they should have been more in number when you are making a film with Nagarjuna. A disappointing film for all Shirdi Baba lovers.An album made with pure intentions need not be lavished with (sentimental) plaudits. With all due respect to Raghavendra Rao, the effort does not show, if there ever was one in the first place. Its my belief that when you try and depict characters like Shirdi Sai, Ramakrishna and Vivekananda (people who have inspired generations) on-screen, you have to make a supreme effort overall to merely make the film seem appealing. The original - 'Shirdi Sai Baba Mahatyam' was much more convincing and inspiring than this haphazardly put together rehash. Sharath Babu, Srikanth and others have some rare moments that bring back memories of some of their previous roles, but again nobody succeeds in making an impression. For a long time I have admired Nagarjuna's boldness and screen presence, but over the past few years one only sees a fading star still struggling to keep his name among the movies piling on at the box- office.
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Looked like the actors were merely playing a part for which they were being given a paycheck for rather than actually portraying the characters' true selves. Most of the scenes were clichéd, painfully in-the-face and lacking in conviction. Raghavendra Rao succeeded on both counts with Annamayya, but with this one it looks like he has made an amalgamation of sub-plots & side-characters which do not piece together to make it whole. Apart from getting a solid cast & crew together, the director has to deal with the complexity of bringing the characters to life as well as depicting a credible picture of the world at that time in history. The life and times of Shirdi Sai Baba of Nashik is not an easy subject to make a movie on, I will give you that. The former was merely watchable while the latter isn't. But then, he thought that he had already mastered the art of making period films and made a couple more - Sri Ramadasu and Shirdi Sai. Raghavendra Rao should have stopped with Annamayya.