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Lekar Hum Deewana Dil is
that the sound recording album, composed by A. R. Rahman, to the 2014 Hindi
film of constant name, directed by Arif Ali that stars Armaan religion and
Deeksha Seth within the lead roles. The film is collectively made by Saif Ali
Khan, Dinesh Vijan and Sunil Lulla underneath the banner of Greek deity
International and Illuminati Films. The album options six tracks, and was
digitally discharged on three Gregorian calendar month 2014 on Greek deity
Music.Lekar Hum Deewana Dil is AN coming romantic drama beginning film industry
starter Armaan religion and South Indian player Deeksha Seth. Armaan could be a
member of the notable Kapoor tribe and is thence the full cousin of superstars
Ranbir Kapoor, Kareena Kapoor Khan and Karisma Kapoor. Directed by Arif Ali,
Lekar Hum Deewana Dil is scheduled to
unharness on four Gregorian calendar month and appears sort of a promising
film. The music has been composed by the notable A.R. Rahman, with lyrics by
the proficient Amitabh Bhattacharya, UN agency has written song for films like
Chennai specific and Yeh Jawaani Hai Deewani. thus is that the music to Lekar
Hum Deewana Dil price your time? scan on to get our verdict!
To starter motor the album
we've Khalifa, sung by A.R. Rahman, Suzanne D’Mello, Shweta Pandit, Mahesh
Vinayakram and Hriday Gattani. i favor the techno components to the present
song, that appears like one thing that you'd hear at a cabaret. additionally, I
love A. R. Rahman’s vocals during this one ANd he offers it an unconventional,
nevertheless nice bit to that. i believe it’s terribly totally different modish
to what America film industry lovers square measure ordinarily accustomed
listening too. nevertheless I say provides it a listen as it’s continually nice
to undertake new things.Next up we've Maaloom, by Jonita Gandhi, Hriday Gattani
and Nakash Aziz. i favor however the song opens with some nice strumming of the
stringed instrument. nevertheless shortly when, it simply plunges to the bottom
and that i simply found myself feeling disengaged with the song. it should
still charm to some, but for me, it had been quite boring listen overall.
The beginning is funky:
'Khalifa' rendered by Rahman himself with Shweta Pandit and Suzanne D'Mello
could be a pulsing foot-tapping track, with the lyrics representing carefree
abandon. Some nonsensical interpolations, however, spoil the day despite the
relentless beat and rousing tones.The second track, 'Maaloom' (Rahman with
Hriday Gattani and Jonita Gandhi) includes a recent Western flavour, with a
rather convoluted structure. The catchy, nearly nursery-rhyme like
straightforward riff that comes because the interlude, aids within the
restricted charm of the song - whereas it lasts. Rahman experiments with some
distinctive orchestration midway through the track that detracts and disturbs
and that we hope that it's a visually necessary deviation.
The third track, 'Ala Hada'
(A.R.Rahman-Shiraz Uppal) includes a little bit of a puzzling component. is
that this word alleged to be 'alhada' (which suggests that 'exceptional'
altogether its connotations?). The shocking half is that Shiraz (from Pakistan)
could be a a part of the song.Amitabh Bhattacharya writes the ingenious lines,
'Tere bagair jeena lagta hai khaali / Dil hai magar seena lagta hai khaali'
however has very little to supply during this or the other song รข€“ actually,
this sound recording could be a sharp abasement for the progressively versatile
author.Nakash Aziz-Shweta Pandit's 'Dil Beqasoor' is well sung by Shweta,
however the song is average. And why will Nakash's introductory section are
available as a form of AN overlay, as if 2 radio channels of the past square
measure taking part in divergent notes simultaneously? As a bearing, it should
work inside the film, however the novelty lacks charm. The lyrics square
measure too figurative and lack any
lingering quotient or connect.
We square measure left with
2 nonsensical tracks, the irreverent 'Mawali Qawwali' (Raghav Mathur-Tanvi
Shah) with lines that go 'Mawali / qawwali / Tu phuljhadi aur main Diwali /
Mawali qawwali / Makhmal badan, baatein rumaali', no matter they mean. In actual
truth, rhymed 'mawali' (ruffian) with
'qawwali' (a pious Muslim musical genre) is nothing in need of humbling, we
feel.The final track, 'Tu Shining' (Hriday Gattani) is AN intentional piece of
jargon with words like 'Tu shining ekdam diamond ki tarah / O attend jaan-e-man
/ Logic ki makkhi maaro boss / Iski boring hai sochas / Profit factor metallic
element zyaada loss / Deep arial se'. When one A.B. (Anand Bakshi) had confined
a totally wise song from recent film titles arrange up along in Ek Duuje Ke
Liye, a adventure story of romance with newcomers in 1981, the new A.B.
(Amitabh Bhattacharya) goes the reverse means within the same genre of film, by
writing vacuous chatter arrange from correct words!
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