I would like to be famous as a producer rather than a lyricist: Manmarziyaan songwriter Shellee


Manmarziyaan song-writer ShelleeManmarziyaan song-writer Shellee Shellee has created a lyrics of Manmarziyaan songs “Chonch Ladhiyaan”, “Grey Walaa Shade”, “Hallaa” and “Daryaa” among others.

“I have been requesting people to listen to other songs from Manmarziyaan besides “Daryaa”. They tell me they can’t get out of it, as if it’s a handcuff!” says a nonplussed Shellee.

“For me, a some-more intelligent outlines are “Chonch Ladhiyaan”, “Grey Walaa Shade” and “Hallaa”. we can write “Daryaa” even if we am out of my senses,” a author tells indianexpress.com in an disdainful conversation.

Shellee aka Shailendra Singh Sodhi has formerly created songs for Dev D and Udta Punjab, yet he prefers to be called a poet. “I don’t like to be famous as a lyricist given that tag is limiting in nature. People consider we can usually write to a tune, given we have so many poems,” he says.

The fact that Shellee’s film songs always simulate his voice is given he creates use of his communication in these songs. He says, “In a adore ballad “Chonch Ladhiyaan”, there’s a line ‘Bande andar Paighambar naache’ (God dances inside a man). This is from one of my poems. Some people did not like this. They have questioned it. Everyone has a opposite approach of joining with God. For me, God can reside inside me and we feel my God will never keep quiet. If we am in love, he or she will be jumping with fun and dancing!”

Similarly in “Hallaa”, sung by Jyoti Nooran, that describes a misunderstanding of Abhishek Bachchan’s impression after he sees his mother and her former partner pity an romantic moment, Shellee brings his aged communication to use, creation a method one of a many touching and absolute in a film.

“In “Hallaa”, there’s a line Ishaq lafz ka ‘I’ toot ke gir gaya. That’s also from one of my poems. Now, if we observe, if a ‘I’ of Ishq falls, what’s left is ‘shaq’, definition doubt. That’s a hint of a pain he feels. These are a things we like to do in my songs yet we did not know that people would know such nuances. So, it feels good that they have indeed celebrated these things and reached out to me,” he adds.

Shellee reveals he and a film’s strain composer Amit Trivedi were uncertain of how people would conflict to Manmarziyaan’s manuscript given he had combined a lot of initial elements in a songs.

“I get wearied of regulating one denunciation purely. In “Grey Walaa Shade”, we have used many English difference starting from a pretension itself. The inlet of Vicky (Vicky Kaushal) and Rumi’s (Taapsee Pannu) attribute is how many complicated relations are. They are over black and white. The film does not decider these characters and their equation that has both adore and lust. So, given should my strain decider them?”

The poet’s non-judgmental take on complicated intrigue is apparent in a lines that speak about “mutual favour” as good as a need of “updating a ghisa-peeta (orthodox) version” of adore in a strain “Grey Walaa Shade”.

“When we speak about Sahir Ludhianvi-Amrita Pritam adore story, it also had grey shades. Even while vital with Imroz, she spent a few nights with Sahir. So, we can’t go harping about being a purist. It’s all grey,” Shellee ruminates, while divulgence he took records from a mythological Sahir-Amrita-Imroz triangle for Manmarziyaan. “The layers in a film’s story resonated with this adore triangle. This stayed with me.”

A reason that a film’s songs take a screenplay brazen and complements it on any turn is given Shellee and a Manmarziyaan author and artistic author Kanika Dhillon were on a same page. Shelle says, “I always review my scripts four-five times. While reading Manmarziyaan book a third time, we realised a layers in a story and we knew it was a unsure film. we knew it could go a wrong approach if given in wrong hands. we know a lot of lyricists take a book yet don’t review it. So, how will it simulate in a film’s songs?”

It also helped that both Shellee and Kanika were some-more than informed with a roads and a people of Amritsar. “We both have seen group like Vicky in any other dilemma of Amritsar. we have seen adore stories like Rumi and Vicky’s. So, we accepted what Kanika was perplexing to say.”

Shellee, however, is discerning to discuss a grant of his partner Amit Trivedi and a film’s executive Anurag Kashyap. When Anurag assimilated a film, usually one lane “Sacchi Mohabbat” was ready, that was stoical and created while executive Sameer Sharma was helming a film. Shellee shares along with Anurag, came some-more shades to a 3 categorical characters and blind trust in him and Amit.

Shellee

Shellee

“He trusts us to an border that he did not change even a singular word in a album. His faith acts like a pillar. Because of that we feel unwavering of delivering a best and also leisure to do what we wish to do. He did not wish another Dev D yet wanted a same magic,” reveals Shellee.

While praising his director, who sat for prolonged strain sessions with him and Amit, Shellee says a lot of invention in Vicky’s impression was pleasantness Anurag. “The impression shades altered after Anurag joined. Like, Vicky was always scandalous and irresponsible. But somewhere, a power that he has, how he cries (for Rumi) is interjection to Anurag.”

Manmarziyaan outlines Shellee and Amit’s third collaboration, and while a adore between a dual has usually increasing with any film, so have a fights. “We have vital fights given a difference we consider will be famous to all Amit thinks we should spoon-feed a listeners. He says, ‘Let’s make all easy, pan-India.’ “Ramaiyan Vastaaiyan”, “Kun Faya Kun” or “Da Da Dasse” aren’t pan-India difference yet these are all strike songs. If people have to collect a good song, they will on a basement of phonetics or word of mouth.”

What done Manmarziyaan singular for Shellee among all his works in Hindi cinema was that it was a adore story created by a womanlike writer, with a womanlike impression during a centre. The author was unwavering of portraying a womanlike gawk by a songs that was clear in Kanika’s screenplay.

He says, “I channelised a lady within me. we knew that Taapsee’s impression was really powerful, so a songs had to simulate that. we have grown adult with an comparison sister, that done my gawk really opposite from group around me. we would get in arguments with a lot of my masculine friends. In fact, to uncover Taapsee’s rebel in a film, we wanted to write a poem desirous by Bhagat Singh and Che Guevara. we wanted to make use of references of masculine revolutionaries for Rumi. It would have been an engaging juncture yet it didn’t occur given we got bustling with other songs. we will write it someday though.”

What can be a bigger instance of a album’s feminist inlet than a strain “Kundali”? As Taapsee’s Rumi dances to a high-tempo track, a lines penned by Shellee like ‘Sacha hai, satyavan hai per kadi kadi maa behen de peet deta jee’ and ‘Susheel sanskari, bada agyakaari, Samjho daaru aur juve da mel hoya jee’ close down a congenital society, that still considers a lady deficient though a man, however injured he is.

“I was critical about equivalence given childhood. we knew this whole judging was so one-sided. Men are never put by any contrition if they splash or smoke,” Shellee says. What sets a author like Shellee detached from his contemporaries is that he creates use of gift to communicate a deeper meaning. This has been his heading given his initial album, Dev D.

“I once used a word ‘crazer’ in a strain from Luv Shuv Tey Chicken Khurana and people were like. ‘How is this even a word?’ But in Punjab, group use this word to report themselves when they tumble for a girl! In Manmarziyaan, a strain “Bijlee Giregi” that describes Taapsee’s character, we tweaked a word ‘cutie-pie’ to ‘kutti-pie’ given in Punjab, a scandalous chairman is fondly called ‘kutti cheez’. These elements make a songs interesting,” a lyricist says.

In his nine-year-long career, Shellee has created lyrics for usually 5 films, something that has some-more to do with a film industry’s robe of stereotyping an artist than his possess choice. He says, “They feel we can write usually Punjabi songs yet if we analyse my songs, afterwards usually 8-10 per cent Punjabi is there. They have some-more of Hindi and Urdu. Also, my Hindi and Urdu wording is distant improved than that of Punjabi. In my subsequent film, we have used complicated Hindi difference (chuckles).”

But for now, Shellee is happy roving a success wave. “A strain composer called me a few mins ago, observant he could not get behind to his work given he was listening to Manmarziyaan songs. we didn’t know to react,” he signs off.

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