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Main aurr Mrs Khanna October 19, 2009

Posted by Shujath in Hindi, Movies, Reviews.
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Prem R Soni is credited for the Story, Screenplay, Dialogues and Direction for this film. After conceiving the film, at some point of time he seems to have come to the conclusion that a movie with all the four aspects might be very complex. To keep it simple, he decides to do away with most of the aforementioned details. When the movie ends, you practically keep scratching your head wondering if something really happened in the film and if it did how come you didn’t spot it.

Mr. Khanna (Salman Khan) loses his job in Melbourne. To recoup, he plans to move to Singapore but unceremoniously tries packing off Mrs. Khanna (Kareena Kapoor) to India. Shocked by this harsh move Mrs. Khanna sets up shop in the airport until her husband’s return. In comes Akash (Sohail Khan) who is instantly smitten by Mrs. Khanna and slowly they become close to each other. When Mr. Khanna is back Akash wants to discredit him in Mrs. Khanna’s eyes tries but fails. Inevitably Mr. Khanna confronts Mrs. Khanna about Akash but Mrs Khanna is too dumb to believe that Akash could be love with her. She then decides to confront Akash with the same question – Akash responds rather diplomatically and has an inexplicable change of heart….and the movie ends. There is a so called twist in the end which is supposed to justify Akash’s behavior – but that actually only serves to finally convince Mrs. Khanna (who still can’t believe it!!!) about Akash’s love.

The most bewildering thing about this film is that you have no clue what it is trying to say (or is trying to say something in the first place?) Why does Akash change his mind out of the blue? What about Mr. Khanna who is portrayed as a rather eccentric and unpleasant person for most of the film but towards the end he seems to be exonerated? What exactly is going on in Mrs. Khanna’s mind? What is Bappi Lahiri doing in the film? Why did Preity Zinta have such an awfully bad cameo? In a way Main aurr Mrs Khanna is the most thought provoking film of the year since the number of questions you might want to ask Prem Soni could easily exceed the size of his script.

On the brighter side, this is not really a bad watch if you discount the B-list supporting cast (and promise not to ask too many questions). Sajid-Wajid come up with a pretty good soundtrack which is quite refreshing compared to their usual dance numbers.  All the lead actors perform well but how do you rise above the script when there isn’t one. Main aurr Mrs Khanna is a one-of-a-kind movie which just seems to exist because it has to – it’s your call if you want to watch it for that.

Saawariya November 11, 2007

Posted by Sai in Hindi, Movies, Reviews.
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I fell in love with the theatrical trailer of this film the first time I saw it. The trailer seemed to be a small piece out of director Sanjay Leela Bhansali’s canvas for Saawariya and I was waiting with bated breath for the completed painting. Though the master paints a great picture and transforms the audience into a dream world envisioned in his mind, he falters with the content.

First, the positives. The visual style of this film is striking. Bhansali (Hum Dil De Chuke Sanam, Devdas, Black) has always made visually pleasing, dramatic films. The former aspect is always the one that sticks the most in my mind. This film is no different. He creates a world of his own for this film. A city that doesn’t exist anywhere. One which borrows from many locations. A place where the weather follows Bhansali’s imagination. The film is completely shot on opulent sets that are wonderfully designed to exact specifications (the lighting choices are not the best at times) and even the sky isn’t real (visual effects are quite good). To bring this predominantly blue-green world to life, Bhansali collaborates with production designer Omung Kumar (and Vanita Omung Kumar) and cinematographer Ravi K Chandran (who were also a part of Black). The costumes (Rajesh Pratap Singh, Reza Shariffi, Anuradha Vakil) are beautiful, the choreography (Shiamak Davar, Ganesh Hegde, Mallu, Pappu) is superb and even the movements of the actors in the individual scenes seem to be choreographed by Bhansali. And the result is some brilliantly imagined and executed visuals. This film provides enough enchantment for the eyes to warrant a watch (for those that are interested in that sort of thing). My favorite scene in this film is the one where the main protagonists are jumping over puddles of water (that are also specially created).

The film is a musical in the Hollywood sense of the term (with a song popping up every few minutes and poetry replacing the spoken word) and the soundtrack is remarkable. Monty Sharma (Pyarelal’s nephew and Mithoon’s cousin) makes a commendable debut. It is hard to pick one favorite from among the two versions of Saawariya, Masha Allah, Yoon Shabnami and Thode Badmash (whose tune was composed by Bhansali himself). The quality of the lyrics (Sameer, Sandeep Nath, Nusrat Badr) is great and the singers do a superb job too. Debutants Shail Hada, Parthiv Gohil together with Kunal Ganjawala and Shreya Ghoshal do their best in rendering the painstakingly created numbers as they add their bit in creating some unforgettable songs.

Bhansali extracts good performances from the star kids in their launch vehicle. Ranbir Kapoor (Rishi Kapoor’s offspring) makes an impressive debut and the film revolves around his character. He is a charming young fellow that seems set for bigger things. Bhansali pays tribute to Raj Kapoor in numerous ways including a visual recreation of the RK banner’s logo. Even Rishi Kapoor is invoked a couple of times. Sonam Kapoor (Anil Kapoor’s daughter) is a beautiful girl and her smile is captivating. She emotes well and shows potential. Though Rani Mukherjee, who isn’t specially impressive, gets a character that is an important part of the script, I am not convinced about the necessity of its presence in the film. Salman Khan has very little to do in his special appearance. Zohra Sehgal gets a neat supporting part and she is charming as usual.

Now, the negatives. The problem with this film that it remains a short story (based on “White Nights” by Fyodor Dostoyevsky), one that can actually be described in a few lines (Boy falls in love with girl. Girl is waiting for her lover, who may never show up. Boy tries his best too woo the girl. And I’ll leave the rest to your imagination). The screenplay (Bhansali and Prakash Kapadia) does little to add meat to the story. Interestingly enough, the underlying theme is sort of like Hum Dil De Chuke Sanam revisited, shortened and reversed to an extent. The characters are clearly from the Bhansali world but they stop short of being memorable. The film does have its share of fascinating moments but not enough to make it a very good one.

This film is most definitely not one that is looking to entertain like a Bollywood potboiler. The film unfolds at its own pace but provides an experience that is firmly entrenched in my mind. I am not sure that this film will be a crowd pleaser (its business prospects might be hampered by Farah Khan’s Shah Rukh Khan starrer Om Shanti Om, which is only looking to entertain) but there will be a select few who will enjoy this greatly.