Shooting film songs

Picture the song: The infectious ‘Zingaat’ is among the reasons ‘Sairat’ is difficult to remake

The incredibly catchy Ajay-Atul composition is one of the draws of Nagraj Manjule’s searing tragic romance.

The new Dharma Films production Dhadak is a remake of Nagraj Manjule’s Marathi blockbuster Sairat (2016). Karan Johar’s company has bought the rights from the original producer, Zee Studios, and both companies are producing the film. Dhadak will be directed by Shashank Khaitan and will be a launchpad for second-generation star kids Ishaan Khatter (the son of Neelima Azim and Rajesh Khatter and the step-brother of Shahid Kapoor) and Jhanvi Kapoor (the daughter of Sridevi and Boney Kapoor).

A collective groan went up among fans of Sairat, Manjule’s tragic account of inter-caste romance, after Dhadak’s posters were released. Although it is very early days yet, it appears that Khaitan’s movie will be an adaptation rather than a remake. Sairat is a very tough act to follow, as the Kannada and Punjabi remakes prove. The thick flavour of the story’s small-town setting, the charm and talent of the previously untested leads, and the highly localised treatment of a universal story of star-crossed lovers defy transplantation.

One of Sairat’s pulls is the soundtrack of Ajay-Atul, who combine the spirit of Ilaiyaraaja and AR Rahman with an astute understanding of Marathi folk and popular musical traditions. Sairat has four songs, two of which belong in the narrative universe and two of which have been added to fulfill the movie’s self-description as a musical. Yad Lagla is a gorgeous tribute to the moment Prashant (Akash Thosar) declares his love for Archana (Rinku Rajguru). In Zingaat, Prashant and his loyal friends channel Romeo and Juliet and gatecrash a celebration being held at Archana’s house. The song’s initial synth-pop beats, with lyrics in English, seamlessly transition into folksy beats and boisterous singing that challenge the characters in the movie and the audiences in the cinemas to continue to remain seated.

Combining traditional drums with a brass section and set to difficult-to-translate lyrics that speak of the raucous joys of young love, Zingaat is one of the greatest earworms ever composed. Manjule seems to have played the song during the shoot and encouraged the assembled crowds to shake their limbs. The infectious abandon, which encouraged viewers in theatres across the country to leap out of their seats when the song came on, appears spontaneous and unrehearsed.

Zingaat works, like the rest of Sairat, because it doesn’t try too hard to be anything more than a final moment of lightness before the clouds gather over Prashant and Archana’s romance. The Kannada remake, Manasu Malligey, retains Zingaat, while the Punjabi version has its own soundtrack. There are reports that Dhadak has recruited Ajay-Atul’s services, thus ensuring that at the very least, the soundtrack will evoke memories of the original movie.

Zingaat, Sairaat (2016).
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Swara Bhasker: Sharp objects has to be on the radar of every woman who is tired of being “nice”

The actress weighs in on what she loves about the show.

This article has been written by award-winning actor Swara Bhasker.

All women growing up in India, South Asia, or anywhere in the world frankly; will remember in some form or the other that gentle girlhood admonishing, “Nice girls don’t do that.” I kept recalling that gently reasoned reproach as I watched Sharp Objects (you can catch it on Hotstar Premium). Adapted from the author of Gone Girl, Gillian Flynn’s debut novel Sharp Objects has been directed by Jean-Marc Vallée, who has my heart since he gave us Big Little Lies. It stars the multiple-Oscar nominee Amy Adams, who delivers a searing performance as Camille Preaker; and Patricia Clarkson, who is magnetic as the dominating and dark Adora Crellin. As an actress myself, it felt great to watch a show driven by its female performers.

The series is woven around a troubled, alcohol-dependent, self-harming, female journalist Camille (single and in her thirties incidentally) who returns to the small town of her birth and childhood, Wind Gap, Missouri, to report on two similarly gruesome murders of teenage girls. While the series is a murder mystery, it equally delves into the psychology, not just of the principal characters, but also of the town, and thus a culture as a whole.

There is a lot that impresses in Sharp Objects — the manner in which the storytelling gently unwraps a plot that is dark, disturbing and shocking, the stellar and crafty control that Jean-Marc Vallée exercises on his narrative, the cinematography that is fluid and still manages to suggest that something sinister lurks within Wind Gap, the editing which keeps this narrative languid yet sharp and consistently evokes a haunting sensation.

Sharp Objects is also liberating (apart from its positive performance on Bechdel parameters) as content — for female actors and for audiences in giving us female centric and female driven shows that do not bear the burden of providing either role-models or even uplifting messages. 

Instead, it presents a world where women are dangerous and dysfunctional but very real — a world where women are neither pure victims, nor pure aggressors. A world where they occupy the grey areas, complex and contradictory as agents in a power play, in which they control some reigns too.

But to me personally, and perhaps to many young women viewers across the world, what makes Sharp Objects particularly impactful, perhaps almost poignant, is the manner in which it unravels the whole idea, the culture, the entire psychology of that childhood admonishment “Nice girls don’t do that.” Sharp Objects explores the sinister and dark possibilities of what the corollary of that thinking could be.

“Nice girls don’t do that.”

“Who does?”

“Bad girls.”

“So I’m a bad girl.”

“You shouldn’t be a bad girl.”

“Why not?”

“Bad girls get in trouble.”

“What trouble? What happens to bad girls?”

“Bad things.”

“What bad things?”

“Very bad things.”

“How bad?”


“Like what?”


A point the show makes early on is that both the victims of the introductory brutal murders were not your typically nice girly-girls. Camille, the traumatised protagonist carrying a burden from her past was herself not a nice girl. Amma, her deceptive half-sister manipulates the nice girl act to defy her controlling mother. But perhaps the most incisive critique on the whole ‘Be a nice girl’ culture, in fact the whole ‘nice’ culture — nice folks, nice manners, nice homes, nice towns — comes in the form of Adora’s character and the manner in which beneath the whole veneer of nice, a whole town is complicit in damning secrets and not-so-nice acts. At one point early on in the show, Adora tells her firstborn Camille, with whom she has a strained relationship (to put it mildly), “I just want things to be nice with us but maybe I don’t know how..” Interestingly it is this very notion of ‘nice’ that becomes the most oppressive and deceptive experience of young Camille, and later Amma’s growing years.

This ‘Culture of Nice’ is in fact the pervasive ‘Culture of Silence’ that women all over the world, particularly in India, are all too familiar with. 

It takes different forms, but always towards the same goal — to silence the not-so-nice details of what the experiences; sometimes intimate experiences of women might be. This Culture of Silence is propagated from the child’s earliest experience of being parented by society in general. Amongst the values that girls receive in our early years — apart from those of being obedient, dutiful, respectful, homely — we also receive the twin headed Chimera in the form of shame and guilt.

“Have some shame!”

“Oh for shame!”




“Do not bring shame upon…”

Different phrases in different languages, but always with the same implication. Shameful things happen to girls who are not nice and that brings ‘shame’ on the family or everyone associated with the girl. And nice folks do not talk about these things. Nice folks go on as if nothing has happened.

It is this culture of silence that women across the world today, are calling out in many different ways. Whether it is the #MeToo movement or a show like Sharp Objects; or on a lighter and happier note, even a film like Veere Di Wedding punctures this culture of silence, quite simply by refusing to be silenced and saying the not-nice things, or depicting the so called ‘unspeakable’ things that could happen to girls. By talking about the unspeakable, you rob it of the power to shame you; you disallow the ‘Culture of Nice’ to erase your experience. You stand up for yourself and you build your own identity.

And this to me is the most liberating aspect of being an actor, and even just a girl at a time when shows like Sharp Objects and Big Little Lies (another great show on Hotstar Premium), and films like Veere Di Wedding and Anaarkali Of Aarah are being made.

The next time I hear someone say, “Nice girls don’t do that!”, I know what I’m going to say — I don’t give a shit about nice. I’m just a girl! And that’s okay!

Swara is a an award winning actor of the Hindi film industry. Her last few films, including Veere Di Wedding, Anaarkali of Aaraah and Nil Battey Sannata have earned her both critical and commercial success. Swara is an occasional writer of articles and opinion pieces. The occasions are frequent :).

Watch the trailer of Sharp Objects here:


This article was published by the Scroll marketing team with Swara Bhasker on behalf of Hotstar Premium and not by the Scroll editorial team.