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By Joginder Tuteja, January 7, 2005 - 10:50 IST
After Anil Kapoor and Hrithik Roshan, who played the role of a man trapped in a child's body excellently in 'Eeshwar' and 'Koi Mil Gaya' respectively, it is the turn of Ajay Devgan to demonstrate his acting prowess in a sensitive role - once again!! A Pammi Baweja production directed by Harry Baweja, 'Main Aisa Hi Hoon' the third of Devgan's movies lined up for release, with Insan and Blackmail as the other two. Baweja and Devgan combination have always delivered, be it their first venture Dilwale, or subsequently Diljale, Deewane or Qayamat. Supposed to be inspired from Hollywood movie 'I am Sam', MAHH has Ajay's 'Yuva' pairing of Esha Deol and 'Hindustan Ki Kasam' co-star Sushmita Sen (who plays the role of a lawyer) for company. Music has always been a highlight of Baweja movies and the same is also expected from MAHH that has 'now-very-well-established' Himesh Reshammiya to do the honors. Sameer writes for this music album, which has, in true Baweja style, dialogues before the start of every number!!
Title song of Adnan Sami-Asha Bhonsle's 'Kabhi To Nazar Milao' is the clear inspiration for the opening number of the album 'Deewanapan Deewaange'. A very well tuned number, it holds on to its own despite the similarity and makes for a wonderful melody. Veterans Udit Narayan and Alka Yagnik are flawless in their rendition while the soulful music makes you look forward to the rest of the album. There is a 'Piano' piece that follows after a couple of songs and is nice again. And this further reminds of 'Kabhi To..' as it too had a piano instrumental (with Ashaji chipping in at places) to boast of !!
In typical Himesh Reshammiya 'brand' of music comes 'Just Walk Into My Life' that starts off with these lyrics and them moves on to Hindi throughout. Shaan is as usual in this number that continues the melody mood set by the album so far. The number isn't of the kind that would go a very long way on the countdown charts, but as a continued track in the album it does no harm. Sunidhi Chauhan joins towards the very end of the song and doesn't get much scope to make her presence felt. There is an extremely short 'Adlip' version of the same number that comes up as a Shaan solo.
'O Raju O Daddy' genre of a child expressing love for his/her parents comes up in the shape of 'Papa Mere Papa'. The number isn't dull or lifeless, but like the previous song it is more of situational rather than a blockbuster material. This one is of a kind that may touch a chord with the female audiences! Baby Aparna sings the maximum length of the number and is impressive. Sonu Nigam and Shreya Ghoshal enter the scene a bit later and play their part well. In total, a number that reminds of the 70's-80's brand of family numbers. The track is also repeated as 'Papa Mere Papa - Part I', sans Shreya Ghoshal, after a very brief interval. After hearing the number a couple of tunes, one can clearly sense the vintage Laxmikant-Pyarelal touch.
'Teri Galiyon Se', that has Jayesh Gandhi kicking off the number with Sunidhi Chauhan carrying on from there, is composed in a truly different style. Though the theme has a theme about passionate love, it is arranged as a pop track and has Sunidhi singing in a westernized accent, as she did 'I Want To Make Love To You'. One gets the feeling that the choreography of the number would be of international standards and if that happens, then this could be the number that could engage the audience watching the movie!
Melody makes a comeback with 'Raat Hai Soyi Soyi', a touching number that has a father singing a lullaby for his son. The tune is such that it could be apt for even a romantic number and Himesh's prowess with Indian melody does wonders once again. Overall a well written track by Sameer that has Sonu Nigam in his subtle best. This number too has a short 'Adlip' version, again by Sonu Nigam.
Udit Narayan sings the concluding number 'Dil Mera Todo Naa' (this was the earlier title of the movie) that has distinct shades of Reshammiya's numbers from 'Tere Naam', that are still holding a place in the countdown charts. A melodious song, it is the second best of the album after 'Deewanapan' and effectively makes it two out of two for Udit Narayan.
After a rocking score in 'Aitraaz', good one in 'Dil Maange More', an average one in 'Blackmail' and rather dull one in 'Insaan', Himesh rises above average with 'Main Aisa Hi Hoon'. Blame it on the extremely high expectations, but the musical score here is not at that high level as one witnessed in Dilwale, Diljale, Deewane or Qayamat. The songs are fine in their own way as they go with the theme of the movie. Chances for the album registering higher sales figures after the release of the movie is greater than before the release.
  
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