1 Ae watan (Raazi)
Raazi is an important film about the cost of patriotism in the face of politics and rivalry, with a radiant act from Alia Bhatt. Ae watan is assuredly the mouthpiece of Bhatt’s Sehmat, who has no qualms in placing her country ahead of self. Shankar-Ehsaan-Loy made two versions of the song, one with Sunidhi Chauhan and the other with Arijit Singh. Ae watan holds more power in Sunidhi’s matchless rendition and reveals the lasting impression on a woman’s mind that is inclined towards the prosperity of her country. “Main jahan rahoon, jahaan main yaad rahein tu,” has a clever alliteration with jaan (self) and jahaan (nation). For Sehmat, it holds that mirror to her comprehension of identity that is synonymous with the well-being of her country.
2 Kinare (QUEEN)
“Dhoondey har ek saans mein, dupkiyoon ke baad mein,” is the manner in which Kinare starts at the climactic end of Queen. Sung with immense depth by Mohan Kanan, this song charts the transition of Rani (Kangana Ranaut) from a shy Delhi girl to a confident woman who can chalk her own path. Penned beautifully by Anvita Dutt, it feels like a reminder that no matter how unforgivingly life’s waves crash at us, we are enough to move onward. “Boondon se hi toh hain bani, baandh lenge lehre,” reveals how we are our own saviors, at all times. Kinare clocks themes of individual freedom and selflessness within four minutes and leaves with a winning pat of assurance.
3 Zinda (Bhaag Milkha Bhaag)
Zinda is all fire and dust, power and passion bleeding into the dream of proving oneself. It is one of those tunes that seethes out of the screen and hits you in the bones. In Prasoon Joshi’s words, “Zindagi ka yeh ghada le, ek saans mein chadha le”, it conveys the determination to lead fiercely and relentlessly, to give it all. Composed by Shankar-Ehsaan-Loy, and sung by Siddharth Mahadevan, Zinda is an unforgettable track, one that instantly elevates and inspires.
4 Patakha guddi (Highway)
Trust A.R. Rahman to come up with a composition that seamlessly transitions from fierce to gentle, courageous to comforting. In Imtiaz Ali’s Highway, it is the music and background score that convey the unspoken. Patakha guddi, rendered inimitably by the Nooran sisters, captured our hearts since it released and has never left since. As Veera (Alia Bhatt) finds freedom in captivity, exploring open roads and climbing trees, Patakha guddi follows her like a reminder that this freedom is for you — you who is God’s chosen one. Irshad Kamil’s words, “Tu le naam rab ka, naam Sai ka, Ali Ali Ali Ali!” rings true every single time.
5 Manmarziyan (Lootera)
This moving ballad subtly turns the tables on the narrative fabric of Vikramaditya Motwane’s sophomore feature. Composed by Amit Trivedi and written by Amitabh Bhattacharya, this tender and breathtakingly poised number talks about a woman’s wish to remain true to her heart’s desire. Sung with exceptional grace by Shilpa Rao, Manmarziyan is about the unspoken little ways through which we reveal ourselves. The desire is to remain in that state of love, of being loved. “Zid ki maari, bholi bhali... manmarziyan.” This is one song that has aged like fine wine. It is not just a song about romantic love, it also about self-awareness and courage, vulnerability and passion, all of which that are built after years of lived experiences.
6 Kar har maidaan fateh (SANJU)
Where does one begin with a song that has the incomparable energy and verve of Sukhwinder Singh? It arrives at a crucial point in Rajkumar Hirani’s Sanju, and elevates it a notch higher. Rhythmic and pulsating with positivity, it is one of those songs that you hear once and it stays with you. The titular line roughly translates into the wish that may you win all your battles, no matter what comes your way. Composed by Vikram Montrose, with words from Shekhar Astitwa, there is a rooted, desi swagger in the way the words weave in the power of the human spirit that can move mountains.
7 Manja (Kai po che!)
“Roothe khwabon ko manaa lenge, kati patango ko thaamenge...” is the winning start to this underrated track from Amit Trivedi’s magical music box, perfectly balanced with Swanand Kirkire’s words. A song that instantly catches your attention and you come back to it for more. It brims with the hope and energy of youth, when nothing seems impossible. It is a celebration of that innocence and indomitable spirit that stops at no impediment that comes in its way. It is layered and lively, cleverly built up to a ravishing midsection that brims with infectious energy. “Kal hoga kya, keh do, kis ko hain parwaah....”
8 Phir se ud chala (Rockstar)
The Rockstar album is one of Rahman’s most accomplished works. In Phir se ud chala, the maestro created a hauntingly unnerving composition that bleeds life into the troubled soul of Jordan (Ranbir Kapoor). It is so rare when a mainstream Bollywood song talks about creative integrity and artistic freedom, charting the mindspace of an artist, his doubts and deliberations. Mohit Chauhan’s rustic rendition of Irshad Kamil’s words still haunts. “Rang birange vehmon mein, main udta phiroon....”
9 Yeh honsla (Dor)
A song that has not left our hearts since we first heard its beautiful rendition by Shafqat Amanat Ali. It is the beating heart of Nagesh Kukunoor’s Dor and arrives in the structure of the story like a dash of fresh air. Mir Ali Husain penned the lyrics and Salim-Sulaiman composed this hopeful number. It incorporates a rustic linguistic fervour in the way it uses words like ‘raah’ and ‘zurrat’, and attaches it to the theme of perseverance. Like “Raah pe kaante bikhre agar/Uspe toh phir bhi chalna hi hain”. They don’t make songs like these anymore.
10 Bismil (Haider)
Shakespeare’s Hamlet is the crux of Vishal Bhardwaj’s Haider, where Denmark transitions into Kashmir. It was an audacious choice, and yet Bhardwaj pulled it off with unwavering control. In one of the most crucial scenes, where Haider (Shahid Kapoor) stages a musical performance (equivalent to The Mousetrap in the play), the personal meets the political through the song Bismil. The sheer brilliance of Vishal Bhardwaj and Gulzar, incorporating Kashmiri folk songs in the composition, makes Bismil an aching, pulsating cry for freedom and justice. When Sukhwinder Singh’s voice echoes through the lines, “Zinda hai woh zinda hoga, mujrim bhi sharminda hoga,” the connotations attain a different kind of power altogether.
