Taal's CD packaging was quite memorable too, a true collector's item. It became the best-selling soundtrack of 1999, selling some 4 million units. In fact, the accolades and international recognition it got was for its music primarily. It was undoubtedly A R Rahman's music and Anand Bakshi's lyrics, accompanied by Ghai's showmanship and Shiamak Davar's choreography, that took the film to the fever pitch. It opened in several film festivals and even merited a mention from noted film critic Roger Ebert. When stripped of all its fanfare and glamour of a big budget film from a reputed production house like Mukta Arts, and the dazzle of its dream cast of Aishwarya Rai, Akshaye Khanna and Anil Kapoor, Taal's story was too cliché to make a ripple on the surface.Īnd yet, Taal became the first Indian film to get on Variety magazine's Top 20 list. And music played the important role of connecting those three dots by flowing through them. Taal was positioned as a romance, a love triangle to be precise.
It got the girl, it got the guy, it got the applause too. In Subhash Ghai's 1999 blockbuster Taal, music was the hero. Where the songs are necessary accompaniments to further the story, as opposed to force fed interludes that do nothing for the film except prolong their runtimes. But very few Bollywood movies will get the spirit of a musical right. Nobody does musicals like Bollywood, that's a general consensus.
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