s***@yahoo.com
2004-11-14 12:30:52 UTC
Shah Rukh Khan let me down in a big way - but then again, I should have
expected no less. "Veer Zaara" made me sick. The reviews from Taran
Adarsh et al seem to see echoes of DDLJ in the film. The only film I
could think of while watching it was "Gadar" - there was the same
prolonged melodrama, the same stuff about race relations, the same
problems with Indian men chasing after Pakistani women whose fathers
happen to be big-time politicians. The major problem I had with this
film was that it tried to assert its epic-ness within the film itself,
rather than allowing it to develop over time.
The film - as others outline, and without wanting to give away too much
- is the story of Veer Pratap Singh (SRK), a guy who, 22 years earlier
came into Preity Zinta's life. For wanting to marry her, he is
imprisoned in Pakistan. During the inevitable flashbacks, there are
scenes of the lush fields and rivers of the Punjab, a model village
which Hema Malini and Amitabh Bachchan have built, and so on. Various
plot-twists occur to give us the inevitable happy ending.
So why did I dislike it so much? First, things were too obvious. Two
bus crashes on the same route result in very different outcomes. You
know that Shah Rukh is in jail from the outset, but we still have this
whole story dragged out to two hours when it could be much much
shorter. Secondly, it really was too cliched. (Hindi movies generally
are, but I found this one especially egregious.) Shah Rukh doesn't know
if all Indian boys are the same as he is, but he knows that all Indian
mothers are as sweet as Kirron Kher. A mother's laddus taste the same
no matter where they're made, apparently. Shah Rukh may spend 22 years
in prison on flimsy grounds, but he still feels that Pakistanis are his
own people. Thirdly, it was just too long. The theatre in which I saw
it (and this time I was coerced into going) had no interval.
Establishing that Veer and Zaara were in love did not need to take
anywhere near as long as it did - even the attempt that was made, I
thought, did not put it at the level of a Romeo-Juliet or even
Basanti-Veeru romance. (So Preity saw Shah Rukh's village. Wow. I
wasn't entirely sure whether Shah Rukh went after Preity because he
wanted to or because Amitabh told him to.) The dialogues were quite,
quite, awful. We're told that the outcome of the case is "as
transparent as water" (the word transparent is used when speaking in
Hindi). Shah Rukh's narration of his first meeting with Preity sounds
more like a Mills & Boon novel than any real account of romance. We're
asked whether Veer and Zaara are people living as gods or gods living
as people. (I thought they were just people acting as caricatures.)
My biggest problem was probably the two leads. Shah Rukh was lame, as
ever, but he wasn't even supported by a plot or high-jinks as in "Main
Hoon Na". He hammed and hawed his way through the film - the person I
went with hadn't seen a Hindi movie before (but had seen this one
advertised, and was desperate to go), and I explained at the outset
that Shah Rukh had only four expressions and it made no difference
whether he laughed and cried. (She agreed afterwards.) Preity has
probably lost some weight and hence looks better, but I still can't
think much of her acting. Shah Rukh has four expressions, Preity has a
smile and a frown. (She also has an overbite, I'm fairly sure. It's why
her top lip comes further out than her bottom one and she can't close
her mouth. All this time, I just had doubts as to whether or not she
could breathe through her nose.)
There were good things about the film. Rani was effervescent in this
role. She has grown her hair a bit, and I think has whitened her teeth.
She continues to impress despite the idiocy of some of the dialogues
she's been served (although the sequence with Anupam Kher in the
Courtroom to start with was quite good). Her outfits in this film were
quite wonderful. The last piece she wore was a beautiful orange kurta
with a pink (probably silk) dupatta, which complemented her eyes to
perfection. I find it difficult to believe a more beautiful woman has
ever existed.
Boman Irani and Divya Dutta impressed, as did Manoj Bajpai - Kirron
Kher less so. The best sequence in the movie was the Amitabh-Hema
segment, but even there, the "Indian unity" was overstressed. (They
live in this idyllic Punjabi village, but apparently Hema is a Madrasi
married to a Punjabi. This has some significance, but it ended up just
seeming like an in-joke, the joke being on Hema.) There are aims to
echo Sholay in some ways too, albeit faintly. I think it's Hema who
uses the "izzat ka sawaal" line at one point, and she calls out to
"her" Veeru several times in that segment. Some of the songs are nice,
most are overdone.
In short, I'd avoid this film in the cinemas and probably even
otherwise (try and get the Rani segments only if possible - it probably
isn't.) It just tries too hard to stamp its place in Indian cinematic
history by mixing messages and themes, thereby losing focus. The film
could have been an interesting idea of the triumph of human rights
against wealth, but even that opportunity was denied us with a song
sequence instead of the case for the defence. The romance could have
been crisper, the dialogues could have been less cheesy, the themes
could have been less cheesy. (Pakistan must be a really great place if
even its unjustified prisoners think it's "like home" - yeah right.) I
liken it to Titanic but on a Hindi film scale. The twists carried on so
long that you began to expect them. The film focused too much on being
a film and too little on telling a story. I hope it flops like
anything.
Aditya
expected no less. "Veer Zaara" made me sick. The reviews from Taran
Adarsh et al seem to see echoes of DDLJ in the film. The only film I
could think of while watching it was "Gadar" - there was the same
prolonged melodrama, the same stuff about race relations, the same
problems with Indian men chasing after Pakistani women whose fathers
happen to be big-time politicians. The major problem I had with this
film was that it tried to assert its epic-ness within the film itself,
rather than allowing it to develop over time.
The film - as others outline, and without wanting to give away too much
- is the story of Veer Pratap Singh (SRK), a guy who, 22 years earlier
came into Preity Zinta's life. For wanting to marry her, he is
imprisoned in Pakistan. During the inevitable flashbacks, there are
scenes of the lush fields and rivers of the Punjab, a model village
which Hema Malini and Amitabh Bachchan have built, and so on. Various
plot-twists occur to give us the inevitable happy ending.
So why did I dislike it so much? First, things were too obvious. Two
bus crashes on the same route result in very different outcomes. You
know that Shah Rukh is in jail from the outset, but we still have this
whole story dragged out to two hours when it could be much much
shorter. Secondly, it really was too cliched. (Hindi movies generally
are, but I found this one especially egregious.) Shah Rukh doesn't know
if all Indian boys are the same as he is, but he knows that all Indian
mothers are as sweet as Kirron Kher. A mother's laddus taste the same
no matter where they're made, apparently. Shah Rukh may spend 22 years
in prison on flimsy grounds, but he still feels that Pakistanis are his
own people. Thirdly, it was just too long. The theatre in which I saw
it (and this time I was coerced into going) had no interval.
Establishing that Veer and Zaara were in love did not need to take
anywhere near as long as it did - even the attempt that was made, I
thought, did not put it at the level of a Romeo-Juliet or even
Basanti-Veeru romance. (So Preity saw Shah Rukh's village. Wow. I
wasn't entirely sure whether Shah Rukh went after Preity because he
wanted to or because Amitabh told him to.) The dialogues were quite,
quite, awful. We're told that the outcome of the case is "as
transparent as water" (the word transparent is used when speaking in
Hindi). Shah Rukh's narration of his first meeting with Preity sounds
more like a Mills & Boon novel than any real account of romance. We're
asked whether Veer and Zaara are people living as gods or gods living
as people. (I thought they were just people acting as caricatures.)
My biggest problem was probably the two leads. Shah Rukh was lame, as
ever, but he wasn't even supported by a plot or high-jinks as in "Main
Hoon Na". He hammed and hawed his way through the film - the person I
went with hadn't seen a Hindi movie before (but had seen this one
advertised, and was desperate to go), and I explained at the outset
that Shah Rukh had only four expressions and it made no difference
whether he laughed and cried. (She agreed afterwards.) Preity has
probably lost some weight and hence looks better, but I still can't
think much of her acting. Shah Rukh has four expressions, Preity has a
smile and a frown. (She also has an overbite, I'm fairly sure. It's why
her top lip comes further out than her bottom one and she can't close
her mouth. All this time, I just had doubts as to whether or not she
could breathe through her nose.)
There were good things about the film. Rani was effervescent in this
role. She has grown her hair a bit, and I think has whitened her teeth.
She continues to impress despite the idiocy of some of the dialogues
she's been served (although the sequence with Anupam Kher in the
Courtroom to start with was quite good). Her outfits in this film were
quite wonderful. The last piece she wore was a beautiful orange kurta
with a pink (probably silk) dupatta, which complemented her eyes to
perfection. I find it difficult to believe a more beautiful woman has
ever existed.
Boman Irani and Divya Dutta impressed, as did Manoj Bajpai - Kirron
Kher less so. The best sequence in the movie was the Amitabh-Hema
segment, but even there, the "Indian unity" was overstressed. (They
live in this idyllic Punjabi village, but apparently Hema is a Madrasi
married to a Punjabi. This has some significance, but it ended up just
seeming like an in-joke, the joke being on Hema.) There are aims to
echo Sholay in some ways too, albeit faintly. I think it's Hema who
uses the "izzat ka sawaal" line at one point, and she calls out to
"her" Veeru several times in that segment. Some of the songs are nice,
most are overdone.
In short, I'd avoid this film in the cinemas and probably even
otherwise (try and get the Rani segments only if possible - it probably
isn't.) It just tries too hard to stamp its place in Indian cinematic
history by mixing messages and themes, thereby losing focus. The film
could have been an interesting idea of the triumph of human rights
against wealth, but even that opportunity was denied us with a song
sequence instead of the case for the defence. The romance could have
been crisper, the dialogues could have been less cheesy, the themes
could have been less cheesy. (Pakistan must be a really great place if
even its unjustified prisoners think it's "like home" - yeah right.) I
liken it to Titanic but on a Hindi film scale. The twists carried on so
long that you began to expect them. The film focused too much on being
a film and too little on telling a story. I hope it flops like
anything.
Aditya