Bimbisara on ZEE5: While you’re in awe of Nandamuri Kalyan Ram’s fantasy tale, make time for its fantastic album too

Baahubali, among all the good things it did to take Indian cinema on a global pedestal, tapped into the Telugu audience’s fascination for the folklore genre again. Folklore and fantasy occupy a significant chapter in Telugu cinema history since the 1940s though the trend was on the downslide post the 1980s. It took SS Rajamouli and films like Magadheera, Baahubali for viewers to rekindle their love for these stories. Bimbisara, directed by Vassishta, is cut from the same cloth as these films and of the yesteryear era.

Bimbisara, which streams on ZEE5 from October 21, not only has all the staple ingredients of a solid mainstream film but also integrates a time-travel angle to a gripping folklore tale, while telling the story of a transformed-barbarian king across different eras. There’s a child-like quality to the storytelling and the director Vassishta does a terrific job of simplifying the story for his target audience.

The riveting introduction, the solid drama and the believable transformation of its pivotal character give you every reason to appreciate Bimbisara. However, while you’re in awe of the film, one feels the terrific album, bringing together three composers - Chirrantan Bhatt, MM Keeravaani and Varikuppala Yadagiri with diverse styles - hasn’t gotten its due yet. Of course, it’s understandable why MM Keeravaani’s background score hogged the limelight more than the songs, but this by no means should undermine the variety of its album.

Bimbisara is a complete album in more ways than one. There are a few songs like Gulebakavali, O Tene Palukula, the title track and Vijayaho, that arrive at staple situations for a film of this genre and give what the audiences want - an introduction number, an item song, a romantic melody and a peppy rap number. However, it’s the numbers like Eeshwarude and Neetho Unte Chalu that lend credibility and dignity to the effort and that’s also because of the unique song situations.

Eeshwarude (Chirrantan Bhatt) has a one-of-a-kind of song situation that composers and lyricists rarely get - it discusses the larger philosophies of life and why it’s important to stay grounded and not punch above your weight. An arrogant king from the fifth century strangely lands in 2022 and he’s baffled to be treated as another common man, forced to mend his ways. Shreemani beautifully brings a spiritual dimension into the picture, discussing how human life is nothing but a toy in the hands of the Almighty. Kaala Bhairava has adequate depth in his voice to carry this emotion throughout the number.

Neetho Unte Chalu, sung by Mohana Bhogaraju and Sandilya Pisapati, takes Eeshwarude’s idea a notch further and shows how compassion and love can heal almost any wound in one’s life. Here’s a king who has only chased power all his life, killing people ruthlessly and isn’t even aware of what it means to be cared for, loved and have a family to stand by your side. MM Keeravani, the lyric writer, is aware of the depth of this situation and makes the transformation of Bimbisara feel complete.

Among the other numbers, it’s surprising why Gulebakavali (composed by Chirrantan, lyricised by Ramajogaiah Sastry) wasn’t celebrated as the other item/party numbers in Telugu cinema recently. The musical hook is peppy, lively and this is a welcome break from the norm for Chinmayi (taking us back to her Maiyya Maiyya days), who’s been celebrated more as a melody specialist lately. Gulebakavali is a wonderful testimony to her versatility and vocal range. She brings in the right enthusiasm, an element of mischief into the romance with her voice. Over multiple hearings, the song grows on you like wildfire and there’s no going back.

O Tene Palukula, with music and lyrics by Varikuppala Yadagiri, comes from a man who truly knows the ingredients of an upbeat folk number built on a melodic base. Like Neetho Unte Chalu, given it’s composed and written by the same person, there’s a consistency and seamlessness in the track - the lyrics fit into the composition effortlessly. Hymath Mohammed and Satya Yamini do justice to the composition and make this a rewarding experience.

Vijayaho, meanwhile, is a song in place to suggest that Bimbisara is a warrior to watch out for - this is comfort zone for MM Keeravaani and he excels with ease here. Bimbi Bimbi Bimbisara brings a modern touch to a largely traditional album and the rap number is a glossy, catchy packaging of the story and it serves its purpose. There may be debates on the idea of having multiple composers for the same film. Bimbisara proves that the strategy is here to stay and is also workable in an industry where composers are adamant about a ‘single card’.

(Bimbisara streams on ZEE5 from October 21)