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ACTOR: ALI EJAZ SHOCKS his WIFE, ACTRESS: MUMTAZ, with his BRAZEN PUNJABI MUJRA DANCING with ACTRESS/DANCER: IMROZIA in the role as the INVITED MUJRAWALI. 'MENOO AEWEN LOKI KEHENDE…
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ACTOR: ALI EJAZ SHOCKS his WIFE, ACTRESS: MUMTAZ, with his BRAZEN PUNJABI MUJRA DANCING with ACTRESS/DANCER: IMROZIA in the role as the INVITED MUJRAWALI. 'MENOO AEWEN LOKI KEHENDE' comes from the 1983 PUNJABI FILM: 'SUSRAL CHALO'. The SONG is another TOTALLY UNIQUE PICTURISATION, once seen - never forgotten! The COMPOSITION of the NUMBER has a kind of STRANGE 'BALANCE' of TENSIONS in the MELODY STRUCTURE and STRANGE sort of 'BALANCE' in the ORCHESTRAL PARTS that SEE-SAW in their RESPECTIVE AREAS, but also the MERGE of this ODD 'BALANCE' of ENERGIES and TENSIONS of the ORCHESTRA and MELODY WRITING GEL TOGETHER to make a SONG that is SO COMPELLING and SO ATTRACTIVE to LISTEN to AGAIN and AGAIN? 'MENOO AEWEN...' is a PECULIAR PIECE of MUSIC. It is a PUNJABI SONG but it has a VAGUE 'TANG' of PATHAN MUSIC, a FEELING of PUSHTO CINEMA that is NOT OBVIOUS, but it's DRUMMING PATTERNS and USE of a SOLO and very VIRTUOSIC MANDOLIN as a BRIDGING PHRASE between SUNG PHRASES that SUGGEST the TURKIC RABAB LUTE used in PESHWARI MUSIC.
SINGER: NAHID AKHTAR is a STRANGE CHOICE in the EARLY 1980s where NOOR JEHAN sang MOST SONGS of the PUNJABI CINEMA. NAHID'S VOICE is HARD to DESCRIBE. It is STARK but 'LIGHT' in a WAY that BRINGS out a DELICATE and maybe more 'BELIEVABLE' DANCING GIRL?
The ORCHESTRATION is such a BALANCING ACT of INTERACTION that has a lot of INSTRUMENTAL PHRASES that use MICRO QUESTION and ANSWER DIALOGUE in a PULL-PUSH ENERGY that COMPELS the LISTENER to WANT to CARRY ON ENGAGING in the SONG to TASTE more of this JIGSAW of 'TIT-FOR-TAT MINI CONVERSATIONS' between the PARTS of the ORCHESTRA that CREATE a COLOURFUL SONIC ARCHITECTURE that has a very THIN TEXTURE but a WIDE VARIETY of DIFFERENT SOUNDS ENTWINED ORNATELY around the TUNE.
The VIOLINS play three ROLES. Firstly, FAST PACED 'FLURRY' of DIRECTIONLESS SCALE RUNS as CADENCES [musical full stops at the end of sections]. Secondly, the VIOLINS have FUNCTION as HARD BOWED 'STABS' that add HIGH PITCHED SHARP 'CUTS' in the TEXTURE against the QUITE LOW PITCHED ALTO VOCAL of PLAYBACK SINGER: NAHID AKHTAR. The STRING 'STABS' add COLOUR, PITCH SONORITY and RHYTHMIC BREAK UP after the SINGER with only DRUMS becomes too 'DEHYDRATED' on the THIN FABRIC of the ORCHESTRATION. The VIOLIN STABS are QUITE UNIQUE to PUNJABI CINEMA of the 80s and are an UNNATURAL and STARK UNSUBTLE type of ORCHESTRATION. Thirdly, the VIOLINS also work in a more SUBTLE way of SCALE RUNS up to FIXED NOTE and OCTAVE above the VOCALIST on the REPEATS. This REFRESHES the PALETTE for the LISTENER and adds a CHARGED UPWARD ZESTY 'THRILL' to the SONG...PROGRAMMATICALLY, the STRING SWIRLS are EXPRESSING the RISING SEXUAL ENERGY and HINTING at ORGASMIC ENERGY and 'NASHA' that the DANCING and SASSY WORDS are AROUSING...But the AUDIENCE only EXPERIENCES the HIDDEN LANGUAGE of the ORCHESTRA as a SUBLIMINAL ENGAGEMENT with 'some sort of excitement', not realising that they are BEING MANIPULATED by the ORCHESTRATOR'S BOX OF TRICKS.
