First things first - This flick looks beautiful. It has been shot lovingly, and each frame is like one of the softest caresses ever. The cinematographer has had the support needed from production design, lighting and so forth, but the makers have spared no effort in making this look just...perfect.
The soundtrack is something else. Non-intrusive, yet making its presence felt oh-so-subtly, appropriately, staying within the context of each scenario. Once again, not a mean feat, esp. in a week where I've seen great(er) names falter on that count (and yet, this is just one person's opinion over here, others might take a different route).
The Blink-themed transition makes an appearance here as well, and is used throughout, but is not as intrusive as it was in a recent high profile flick, perhaps due to the short run-time (relatively speaking). It does call attention to itself, but in a relatively lesser manner.
Now, for the main conceit: no spoilers here, since the trailers cover it too, and how its treated in the main feature is therefore a tad confusing to me. Something has happened in the brothers' childhood, that casts a shadow over their relationship with each other, and their interactions with everyone they come in touch with. But this aspect is not touched upon at all, at least not until the final 15 minutes or so. Why I found that mindbogglingly puzzling is that the trailers have the info, as does all the marketing material of the movie, and it was something the film-maker could have started out with. There were audience-members (who I do not sympathize/empathize with) walking out halfway since they perhaps felt that there was nothing substantial to look forward to (in terms of an overarching theme or the like, since the subtlety about the back-story was missed by them completely - perhaps it was much too subtle) after the break, or at all. As far as I was concerned, I know it would be addressed, but as you can see, I still am surprised as to why the helmer held his cards so close to his chest for as long as he did. However, I have to say, that the surprise element was quite well maintained, and I was one of the few who enjoyed the payoff. Well, not exactly enjoyed, but felt it affect my emotions the way it was intended to.
The performances are more than adequate, and I wonder why Rahul Khanna has not made more movies. He can command and disappear into the background at the same time, and needs more roles that appreciate his talent. Dogra is not challenged the way she was in 'Dhobi Ghat'/'Mumbai Diaries', and it's alright nevertheless. Ghai's character has a few layers, and she's more than game to let us peek in there - a bold move. But this is ultimately about the brothers and their angst, and both Mathur and Khanna acquit themselves well, even in their younger avatars.
Not for everyone, this being a dark tale completely about the reality that depresses and even haunts us, about death, unrequited love and the like. Adults only (not just for some swearing and sex, but for the overarching theme of permanent loss and continuous floundering thereafter). Still, it's perhaps one of the best looking movies around these days, and I'm very happy that there were people who spent money to make this happen. Good effort from apparent first-timer Sabal Singh Shekhawat (hope he goes blue-collar next time though), and I'll definitely look forward to his future works of art. This sorta screenplay can very easily be turned into something that's made-for- TV, a once-watch at that, and credit to the makers that they did not succumb to that and take the easy way out. This IS a nice big-screen experience, that doesn't overstay its welcome either (many editors would do well to use this as a reference, even in terms of what I think was a mis-step about the back-story, leaving the rest of it perfect).
The soundtrack is something else. Non-intrusive, yet making its presence felt oh-so-subtly, appropriately, staying within the context of each scenario. Once again, not a mean feat, esp. in a week where I've seen great(er) names falter on that count (and yet, this is just one person's opinion over here, others might take a different route).
The Blink-themed transition makes an appearance here as well, and is used throughout, but is not as intrusive as it was in a recent high profile flick, perhaps due to the short run-time (relatively speaking). It does call attention to itself, but in a relatively lesser manner.
Now, for the main conceit: no spoilers here, since the trailers cover it too, and how its treated in the main feature is therefore a tad confusing to me. Something has happened in the brothers' childhood, that casts a shadow over their relationship with each other, and their interactions with everyone they come in touch with. But this aspect is not touched upon at all, at least not until the final 15 minutes or so. Why I found that mindbogglingly puzzling is that the trailers have the info, as does all the marketing material of the movie, and it was something the film-maker could have started out with. There were audience-members (who I do not sympathize/empathize with) walking out halfway since they perhaps felt that there was nothing substantial to look forward to (in terms of an overarching theme or the like, since the subtlety about the back-story was missed by them completely - perhaps it was much too subtle) after the break, or at all. As far as I was concerned, I know it would be addressed, but as you can see, I still am surprised as to why the helmer held his cards so close to his chest for as long as he did. However, I have to say, that the surprise element was quite well maintained, and I was one of the few who enjoyed the payoff. Well, not exactly enjoyed, but felt it affect my emotions the way it was intended to.
The performances are more than adequate, and I wonder why Rahul Khanna has not made more movies. He can command and disappear into the background at the same time, and needs more roles that appreciate his talent. Dogra is not challenged the way she was in 'Dhobi Ghat'/'Mumbai Diaries', and it's alright nevertheless. Ghai's character has a few layers, and she's more than game to let us peek in there - a bold move. But this is ultimately about the brothers and their angst, and both Mathur and Khanna acquit themselves well, even in their younger avatars.
Not for everyone, this being a dark tale completely about the reality that depresses and even haunts us, about death, unrequited love and the like. Adults only (not just for some swearing and sex, but for the overarching theme of permanent loss and continuous floundering thereafter). Still, it's perhaps one of the best looking movies around these days, and I'm very happy that there were people who spent money to make this happen. Good effort from apparent first-timer Sabal Singh Shekhawat (hope he goes blue-collar next time though), and I'll definitely look forward to his future works of art. This sorta screenplay can very easily be turned into something that's made-for- TV, a once-watch at that, and credit to the makers that they did not succumb to that and take the easy way out. This IS a nice big-screen experience, that doesn't overstay its welcome either (many editors would do well to use this as a reference, even in terms of what I think was a mis-step about the back-story, leaving the rest of it perfect).