Mirzya

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Adnan Kapadia,
Head of Media Planning and Execution at Alliance Advertising & Marketing, watches
a movie only if he enjoys the promo. Perhaps something to do with his self-created standards of declaring a movie good or otherwise. Hence, some people avoid going to movies with him.

Release Date: October 7, 2016
Cast: Harshvardhan Kapoor, Saiyami Kher, Anuj Choudhry
Director: Rakeysh Omprakash Mehra

I have never been an ardent fan of musicals but this one is different. One might not agree with my logic here or even with the reasons why I didn’t dislike Mirzya. You need a big heart to start a project like this and in Mirzya’s case Rakeysh Omprakash Mehra has brought one of his dreams to reality, a kind of dream which just keeps one restless
until you share it with others.
Rakeysh has, in the past, gifted us directorial classics such as Rang De Basanti (2006) & Bhaag Milka Bhaag (2013).
Mirzya is dissimilar because it concentrated on the folklore of Mirza Sahiban, with the visuals going back and forth from the present day to a time nobody-knows-when. A film without known stars lets the viewer concentrate more on the way it has been presented. A screenplay by the legendary Gulzar after almost 18 years, itself speaks volumes about the standing of this mission for Rakeysh.
The story revolves around the untainted love of childhood sweethearts Monish and Suchitra, who live in sub-urban Rajasthan.
They go to school together and their innocent love for each other is defined well through a couple of sequences. Suchitra trying to save Monish’s back faces the school teacher’s
wrath. Monish must take revenge for the hurt caused to her, kills that teacher the very next morning. He is caught and sentenced, only to escape the juvenile prison.
Life takes a turn for Suchitra outside and she is sent away for further studies and Monish becomes Adil (Harshvardhan Kapoor) living in a shanty town of ironsmiths and works as a horse groom for the royal stables.
Suchitra (Saiyami Kher) is engaged to be married and comes back to India. Her fiancé is Prince Karan (Anuj Choudhry) who is well spoken, educated yet respectful of the traditions and culture.
Adil knows Suchitra is back but she is unaware of his concealed identity. Her wish to learn horse-riding is granted and she comes to know that Adil is Monish, this ignites the long-lost flame and she is willing to leave everything and runaway with Adil.
The summary above sounds ordinary considering it was a film Rakeysh had been planning to make for years. Most of the characters apart from the Mirza-Sahiban of this age seemed shaky and forced; a brilliant actor like Om Puri has absolutely nothing to do in the film.
Anuj Choudhry’s character is far too soft for a prince who wants revenge (no it was not subtle). Anjali Patil playing Zeenat’s character was particularly impressive.

Harshvardhan and Saiyami worked hard for their debut, they looked particularly good in the “stone age” sequence where expressions were everything they could play with. However, coming back to the present-day story, there was something missing in the decisive scene when Suchitra finds Adil’s reality and tears his shirt in the stable.
Harshvardhan needs to work hard on his voice and Saiyami must learn to use her eyes more expressively.

The music and lyrics steal the show and as mentioned earlier a viewer can concentrate
more on the film itself if there is no superstar distraction. Gulzar, Shankar Ehsan Loy and Daler Mehndi have yet again proved to be true geniuses. With the film being edited down to two hours and nine minutes it would have been an effort to keep the story
and soundtracks woven so well. The locations, cinematography, art direction and dialogues were praise worthy. Overall, I liked the film and didn’t feel my time was wasted although the box office figures seem to disagree with me. The only question is the total budget i.e. where were these RS 35 crore used?

Ae Dil Hai Mushkil

Release Date: October 28, 2016
Cast: Ranbir Kapoor and Anushka Sharma
Director: Karan Johar

Karan is the Salman Khan of Indian film makers. I do not see the purpose of his films but he makes them from the depth of his soul for the sheer love of making a film.
Using the same old recipe, he has been serving this dish for the past 20 years. What is the point in getting the audiences to a height of emotions where you cannot tell them
anything new or different? Ayaan (Ranbir Kapoor) is a spoilt rich kid and wannabe singer
who meets Alizeh (Anushka Sharma) in London.
They’re both unhappy with their partners Lisa Haydon and Imran Abbas. Alizeh’s character is confused from the start till the end. Ayaan’s friendship for Alizeh turns into love whereas she is still recovering from her break up with her ex, Ali (FawadKhan) and doesn’t want to jump into a relationship.
Or does she? Ali comes back, apologises for his behaviour in the past and Alizeh goes back to India with him. Ayaan is left with eternal heartache but he goes all the way to Lucknow
to attend their wedding, tells Alizeh how much he loves her and leaves. Intermission. The first half was quite bearable, with supreme performances from Ranbir and Anushka and a few clever comic sequences between Lisa, Ranbir and Anushka, mixed with some old cheesy Bollywood songs.
This was the point I got worried about where will Karan take the story and bang he shoots me with one of the most contrived characters in the history of Indian cinema Saba Taliyar Khan (Aishwarya Rai Bachchan). Firstly “Saba” doesn’t exist, even if you go and look for a
character like that in the real world, you will not find an Urdu language “poetess” like Saba. Secondly Aishwarya can simply not act and instead kills Ranbir’s performance. Obviously, she is eye-candy albeit she is the weakest link and by the way Anushka speaks far better Urdu than Aishwarya.

Even Karan Johar knows what he has done to the film, so he throws in Shahrukh Khan (Tahir Taliyar Khan) in a desperate effort and that must have generated a lot of oohs and aahs for the “great” twist Karan brought.
He could have easily made Saba an architect or a lawyer or a banker with a love for poetry.
Ayaan’s “few nights’ stand” with Saba was not about love per say, but when Tahir shares a few golden words with Ayaan about the power and greatness of one-sided love, I thought
Ayaan will start chuckling.
The original soundtracks composed for this film were quite decent and Pritam deserves praise for doing so, one can hardly go wrong with Arijit Singh being there. This was a less than average rated film and no wonder it was quite popular amongst the masses, after all you will find fans for any or each of the faces used in the film paying to watch their favourites, just like I paid to watch Ranbir Kapoor.

Undoubtedly he gave a brilliant performance but in a way he could look back at a few
characters he has done in the past, Ayaan was a mixture of at least three of his previously played characters. Trying to make a good film out of an ordinary story is not easy
but if you try really hard by taking the film to exotic locations, add Fawad, Aliya, Aishwarya and Shahrukh in weak characters, blend some classic Bollywood songs, add references from your own previous movies just to make sure people don’t forget them and towards the climax keep on adding heart-melting moments one after the other without any real logic until the viewer starts wondering when will this film will end, if it ever
will and eventually a lot of people start crying. You have a hit film, join the 100 crore club.
One for the decent songs and one for the clever negative marketing which made this film thrive, I’ll give this feature two stars out of five.

Nothing to look forward to until December, when we get to
watch Vidya Balan in Kahaani 2 and Aamir Khan with his
Dangal.

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