Anu Malik

Every time people think you are done, you bounce back…

Yes, here in Mumbai all the papers have given Jaan-e-Mann three-and-a-half out of four stars. Everyone’s saying that it will be the biggest musical of 2006. It’s like a breath of fresh air. They are calling it a meaty, bouncy and beaty score. All I can say is that it is the grace of God. It is a great feeling to be amongst the happening crowd again.

Will you agree that Jaan-e-mann marks a comeback of sorts for you?

I would like to say Sau sonar ki to ek lohar ki… I wouldn’t say that I was gone but yes, I was lying low. That is because I was trying to study the medium of music all over again, trying to understand what are the new needs of the season. If you look at my work, I have always changed with time. I was away because I wanted to stand apart, to stand tall.

You needed a big musical hit…

It was now or never for me. I was also going through an emotional crisis. Lots of changes were happening around me. Yes, I needed Jaan-e-Mann.

There’s such lovely melody in Jaan-e-Mann. What was the inspiration?

Salman Khan and Preity Zinta in Jaan-e-Mann

When director Shirish Kunder gave me the narration, I felt that there was a tremendous scope for music in the film. So I delved deep inside me. You hear the song Ajnabee shaher where I have touched my deepest bar of melody. Gulzarsaab said it was my finest composition in a long, long time. Then there’s Sau dard, whose refrain is used as the main tune for Ishq masoom hai, which is already a big hit. It was Shirish’s idea to take the prelude from this song and use it for the other. I would say Jaan-e-Mann takes me back to my melody phase like Phir Teri Kahaani Yaad Aayee and Kareeb. More than anything it was the subject which provoked me to come up with such songs.

Did it help that Shirish is the husband of Farah Khan, for whom you scored Main Hoon Na?

Yes, Jaan-e-Mann is Shirish’s first film and I didn’t want to let him down. His entire career depends on this film. Just like it did for Farah in Main Hoon Na. I just gave my heart out. I knew the words of Jaan-e-Mann would be the best with Gulzarsaab writing. This is the fifth time I am working with him after Aks, Asoka, Filhaal and Fiza.

Then you really feel inspired when you know that your songs will be picturised on Salman Khan, Akshay Kumar and Preity Zinta. Salman, specially, is a great motivation. All my films with him have been big hits, like Janam Samjha Karo, Judwaa, Biwi No. 1 and Har Dil Jo Pyaar Karega. Then there is a karmic connection with producer Sajid Nadiadwala over many years.

Sonu Nigam says that his songs in Jaan-e-Mann will die with him…

Abhishek Bachchan and Aishwarya Rai in Umrao Jaan.

It’s good of him to say that. When I came up with Ajnabee shaher and Sau dard, I couldn’t think of any other singer. That kind of pain is there only in Sonu’s voice. So I gave the songs to him. No one can say that I work with the same singers. Look at Sadhna Sargam who has sung Ishq masoom hai so well.

You have also kept your promise of using the Indian Idol singers…

Yes, I have given a chance to so many of them. Everyone expected me to honour my commitment and I have done that.

Is Jaan-e-Mann the start of another new innings for you?

The best thing is that my new soundtracks are so different from one another. With Jaan-e-Mann, there’s Tanuja Chandra’s Zindaggi Rocks which is musically very different. There’s also the new Jai Santoshi Maa, where the aarti song has been appreciated. And finally there’s Umrao Jaan, which is the biggest challenge of my lifetime.

I always wanted to be a versatile composer. The only music director who I have always considered versatile is RD Burman. Panchamda gave an Amar Prem and a Teesri Manzil and now if I can give a Jaan-e-Mann and an Umrao Jaan, I would believe that I have crossed the line.

Did you feel hurt when the producers and directors who had worked with you left you for other music directors?

See, being around for 25 years, I have seen producers going away and then coming back to me. In fact, I feel they go away to come back to me. I am not hurt. Through the 80s, 90s and now in this decade, I have seen it all. It doesn’t matter anymore.

Even Farah Khan has gone for A.R. Rahman for her next film despite Main Hoon Na…

Farah has the right to choose. See, we all expect that people will come back to us. But we have learnt it the hard away. The knocks have been tough. But I have no ill feelings against Farah or any other director. I do think for two days but then I move on. I do not allow it to affect my music. I cannot hurt people as they have hurt me.