Reviews

Nagesh Kukunoor narrates a sublime and powerful tale of two women, intertwined by destiny. It is a story of quest- quest of love and the extent to which the protagonist is prepared to go for it. It is a subtle documentary on women subjugation and emancipation- a story of sisterhood. It is a narration of humanity and human relationships. The story moves us, it stirs us. None of the earlier works of Kukunoor prepares us for this marvelous fête of aesthetics and emotions.

It provides a landscape hidden to the eyes of the modern India. It paints a picture of an all together different world. The canvas is unfamiliar, but the characters are so easy to relate to- so easy to empathize with. Their pain is our pain; their jubilations are ours. We laugh for them and cry for them at the same time. They become for once us, and we become them.

The depiction of fiercely independent woman, Zeenat, by Gul Panag is by far her best performance on the celluloid. She essays a very powerful character which would go to any extreme to save her love- her background, religion, and limited resources not withstanding. She inspires respect for the character in the hearts of the audience. She tells us of the revolution which is silently happening in the hinterlands of India, where women are slowly but surely coming out of their traditional roles and becoming more empowered. She conveys this is a subtle way through her convincing and yet underplayed performance.

Meera is played by Ayesha Takia. And what a performance this is. Those who have seen Takia in her earlier roles would never be able to guess the sheer genius this actor is. One is forced to wonder what took her so long to express her real acting talent. Watch out especially for the scene where Meera's husband's battered suitcase is delivered in the veranda and she approaches it. Very few actors have been able to achieve the brilliance in their delivery to the extent she does in this scene.

Through his characterization of funny "behrupiya" Shreyas Talpade introduces an element of spontaneous fun with out disturbing the underlying emotional depth of the movie. He goes one step further from his earlier performance in Iqbal- show-casing a previously huge untapped talent. His appearance in the movie adds an extra zing to this tale of sisterhood.

Screenplay has done justice to all the characters. Secondary characters are also very well formed. Cinematography is awe-inspiring. The parched landscape of Rajasthan adds a kind of mysticism to the story. The juxtaposition of the story against this landscape adds an extra element of poignancy. Background music adds to the story without becoming overbearing. Technical departments have done a marvelous job. It shows in the movie that a lot of love and thought has gone into making of this movie.

All in all this is the best movie that has come out of Bollywood in a long time. It is a definite 9 out of 10. (I hesitate to give it 10 out of 10 because of the character played by Kukunoor himself in the movie that creates disharmony in the storyline.)

A few days ago, I watched Sudhir Mishra's Hazaaron Khwaishein Aisi with some friends. I am still thinking of it after more than a week has passed. Rare does it happen that an Indian movie leaves such a lasting impression. It is refreshingly bold in its portrayal of its central characters and the story of their personal journeys in search for their identities.

The story is set in the early 70's when emergency and pro-poor (naxalite) movement shaped the thoughts and actions of millions of idealistic youth in India. The story deals with three characters- two males and a female, each from a different stratum of Indian society- each with different passions, goals and idealism. It is their story of love, hope and final attainment of their goals.

The central and most important character is without doubt Chitrangada Singh's Geeta. Her idealism draws her to revolutionary ideas, but she is torn by her need for the softer, more materialistic things of life, for love and a family. This constant pull shapes her life, her choices, and her final destination, depicted touchingly in the end of the movie. She is shown as the most human of all the characters, making her the most believable and most admirable. On one hand, I am in awe of her strength and inner resolve; on the other hand, I feel her suffering and emotional trauma.

KayKay Menon's character Siddharth starts out as a youth of privilege who takes a bold step of fighting for the cause he believes in, leaving behind his only true love. He struggles with the repressive authorities and the demons with in him- his sudden realization that he is after all human in the chase scene, had a dramatic effect on me, suddenly bringing other side of his nature into sharp perspective. His desire to fight out the authorities is derived from his own insecurities about himself. He finds his closure when he accepts his failures.

The most complex of all these characters is Shiny Ahuja's Vikram. His desire to climb the social ladder is surpassed only by his fiery passion for Geeta. She is the only centrality to his other wise meaningless, high powered, and politically connected life. She makes him yearn for making himself successful, and that is what drives her away from him. His choices can be understood only in the context of the complex and unfulfilled relationship he shares with Geeta. His love is never requited in the true sense of the word. Nevertheless, he is the one who finally brings meaning back into Geeta's life.

Technically, the movie is very good, with nice camera work and precise scissors of the editor. Some scenes are breathtaking in their beauty. Dialogues are sometimes difficult to understand, but that ends up adding to the over all tension of the movie. A must watch for any lover of good cinema!