Strongly reminiscent of Rahman’s rustic scores, Namma ooru and Thaayaramma are strictly temlplatized, with only the engaging, gossippy lyrics making an impact. Odamarathu mullapola is no better – that stock, pseudo-rustic rhythm is oh-so-boring now. Thulasi chediya is more Hari than the composer – a standard melody expected in a Hari film. Out of the two pathos numbers, Naresh Iyer’s Paarvayile oru yaekkam is considerably better than the perfunctory Kannamma – the choice of singer, being the main reason. Hari has already tried Bharadwaj, Harris and Yuvan; in Seval he gets GVP to make a stale blend of all three!
Keywords: Bharat, Simran, Poonam Bajwa, GV Prakash Kumar
