It would have been an interesting juxtaposition but it didn’t happen because we got busy with other songs. I wanted to make use of references of male revolutionaries for Rumi. In fact, to show Taapsee’s revolt in the film, I wanted to write a poem inspired by Bhagat Singh and Che Guevara. I would get in arguments with a lot of my male friends. I have grown up with an older sister, which made my gaze very different from men around me. I knew that Taapsee’s character was very powerful, so the songs had to reflect that. He says, “I channelised the woman within me. But somewhere, the intensity that he has, how he cries (for Rumi) is thanks to Anurag.” Like, Vicky was always notorious and irresponsible. “The character shades changed after Anurag joined. While praising his director, who sat for long music sessions with him and Amit, Shellee says a lot of improvisation in Vicky’s character was courtesy Anurag. He did not want another Dev D but wanted the same magic,” reveals Shellee. Because of that we feel conscious of delivering the best and also freedom to do what we want to do. “He trusts us to an extent that he did not change even a single word in the album. Shellee shares along with Anurag, came more shades to the three main characters and blind trust in him and Amit.
When Anurag joined the film, only one track “Sacchi Mohabbat” was ready, which was composed and written while director Sameer Sharma was helming the film. Shellee, however, is quick to mention the contribution of his partner Amit Trivedi and the film’s director Anurag Kashyap. So, I understood what Kanika was trying to say.”
I have seen love stories like Rumi and Vicky’s. “We both have seen men like Vicky in every other corner of Amritsar. It also helped that both Shellee and Kanika were more than familiar with the roads and the people of Amritsar. So, how will it reflect in the film’s songs?” I know a lot of lyricists take the script but don’t read it. I knew it could go the wrong way if given in wrong hands. While reading Manmarziyaan script the third time, I realised the layers in the story and I knew it was a risky film. Shellee says, “I always read my scripts four-five times. This stayed with me.”Ī reason that the film’s songs take the screenplay forward and complements it on every level is because Shellee and the Manmarziyaan writer and creative producer Kanika Dhillon were on the same page. “The layers in the film’s story resonated with this love triangle. It’s all grey,” Shellee ruminates, while revealing he took notes from the legendary Sahir-Amrita-Imroz triangle for Manmarziyaan. So, you can’t go harping about being a purist. Even while living with Imroz, she spent a few nights with Sahir. “When we talk about Sahir Ludhianvi-Amrita Pritam love story, it also had grey shades. The poet’s non-judgmental take on modern romance is apparent in the lines which talk about “mutual favour” as well as the need of “updating the ghisa-peeta (orthodox) version” of love in the song “Grey Walaa Shade”. The film does not judge these characters and their equation which has both love and lust. The nature of Vicky (Vicky Kaushal) and Rumi’s (Taapsee Pannu) relationship is how many modern relationships are.
In “Grey Walaa Shade”, I have used many English words starting from the title itself. “I get bored of using one language purely.
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