Who Composed The Soundtrack For Film Evil Returns 1920?

2025-08-24 13:40:25 306

3 Answers

Aidan
Aidan
2025-08-25 10:31:59
I still get a little thrill pulling up the soundtrack for '1920: Evil Returns'—that haunted, reverb-drenched vibe sticks with me. The film’s songs were composed by Mithoon, who handled the melodic tracks, while the background score (the eerie atmospherics that really drive the chills) was done by Raju Singh. That combo made the movie feel like a proper old-school horror: memorable tunes layered over a tense orchestral bed.

I’ve listened to the songs a few times on late-night playlists, and you can hear Mithoon’s signature: strong melodies and emotive swells. Meanwhile, Raju Singh’s work is the glue in the film—those moments where the camera lingers and something unseen is about to happen feel much more effective because of his textures. If you’re digging into the movie’s music, check streaming services or the soundtrack credits—Mithoon for the songs, Raju Singh for the background score—and you’ll hear how they complement each other.
Ian
Ian
2025-08-27 23:27:34
I recently revisited '1920: Evil Returns' and liked paying attention to who made the music work so well. The film’s songs are by Mithoon, and the background score—the spooky, scene-driving pieces—was composed by Raju Singh. That separation between song composer and background scorer is pretty common in Indian cinema, and here it helps: Mithoon gives you memorable melodies you can sing later, while Raju Singh provides the ominous textures that make the movie genuinely unsettling. If you’re exploring the film’s audio, listen once for the songs and again just to focus on the score; you’ll appreciate both sides differently.
Uma
Uma
2025-08-28 06:13:17
I was chatting with a friend about spooky Bollywood scores the other day and '1920: Evil Returns' came up. From what I’ve dug up and listened to, Mithoon composed the main songs featured in the film, giving it that melodic horror-pop sensibility, while Raju Singh took care of the film’s background score—the instrumental cues, tension-building swells, and the creepy underscoring that play during tense scenes.

It’s a neat split because Mithoon’s tracks are the ones that stick when you hum them later, whereas Raju Singh’s work is subtle but essential: the things you notice when the hairs on your neck stand up during quiet moments. If you want to explore, try comparing a song track to a scene in the movie; you’ll quickly notice the different roles the two composers played in creating the overall mood.
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