Donate
Yet another Saawariya review
There are some films up to the brim with so much self-belief they include you in entirety in their flawed existence. Films which take a risk so big you wonder what inspires such degree of madness or obsession to put it mildly. The film language gets the prime importance and all the imperfections merely act as check points for a dream to be alluded as reality. Such a film creates images that entice and appease you into the fake world it paints with much dignity and poise.
On the outset, Saawariya declares the dreamscape it throws at you in the name of drama is all part of a dream. So you drop any further arguments into the plausibility of the setting. You move on to what the director wants you to watch, listen or ponder over- a wind-chiming ambient sound all through, glittering streets where no one but the protagonists set foot, a timeless fantasyland where nights are followed by nights and the only possible connect to the world we live in is the ubiquitous banners, glowing in their own eloquence against the starry nights and streets paved with silver.
It is probably the absence of a multi-twisted storyline that gives the film its free-spirited approach into exploring the universal theme of love. And the film does that rather exceptionally well, much like the winding streets of the anonymous town where the dream is set. It is like an academic course where you have just one subject to study for the entire expanse that your dad paid and sent you for. There is just ONE chapter, and there are no evaluations. And you have nothing or nobody around but the book. Just one book. And you.
Ranbir Raj & Sakina present that one chapter in form of Saawariya. You do not like them? Don’t wait for them to change the recipe. It will never happen. I, fortunately, for no particular reason, liked the recipe in the first place, and it grew better by the minute. Soon it acquired a lasting texture and fabulous aftertaste.
Apart from the staged nuances (the characters use songs a la any Broadway theatrical grandpiece at almost every other instance, the ‘extras’ are there to elevate the central character and chisel them all along the narrative, the performances are high on exaggerated expression-they are either too happy or too sad, even if one precedes the other by a second), and an almost perfect debut work by Ranbir Kapoor, what stays with you and grills your reactions further is the invisible belief in the dream. If you have ever seen Anu Malik croon the least appealing of his compositions with a beastly fervor, you will know what forms the undercurrent of Saawariya’s flow, rather drastically opposed to the example here though.
The technique is all there, and as much expected it is swelling with detail, opulence (to borrow a word from Pratim), but contrary to the obvious outcomes, it has soul amidst all the prominent ‘cut-outs’.
The music is an example. I happened to follow this and some other brilliantly composed OST’s this year, and must say, the respect this film shows for each single note composed on the album is unprecedented so far in the current year. And the detail is just not there to make you feel wow, it is as romantic as the premise, it is as ‘madly in love’ as the director’s intentions, which dance and explode with ecstasy on screen.
If blue is not your favorite color, and nights are not particularly a romantic utopia for you, stay away from this one. It will saturate you with blue and the night. But by any remote chance, you happen to like them; it will amplify your favored imagination to quite dizzying heights.
Sanjay Leela Bhansali does quite the unexpected here, throws all the tantrums in the world and shouts at top of his lungs that he believed in the film, and goes to such extent to promote the film (more the phoren producers) you feel like throwing up at the mere thought of sitting through the done-to-death promo sequences stretched over a feature length. What causes this transition is pretty much what constitutes the reasons one likes the film- a dream (shoot me if I say the word again)-felt innocence all through. The one shot where the female protagonist is thrown on the floor is done with so much care it looks like her mom was playing the on-shoot extra.
Ranbir Kapoor is defiant of debut-traditions in Bollywood. He pitches his Ranbir Raj in a jubilant hue, pepped with dynamic expressions that transition like a Kathakali dancer. His work in the much-touted full monty song is exceptional, if you look at his face that is. It is his fresh (jeez, where is my thesaurus today) and confident take on a loser in love that makes the climax a memorable one. And yes, stop with those comparisons, will you.
Sonam Kapoor emotes the despair of a sadiyon-se-intezaar-karti-heroine rather conventionally. She is brilliant when she is not grinning clueless. One scene that stayed with me was her parting lines with Ranbir, you almost feel on the fence, she will, she won’t until it doesn’t matter anymore in a very ‘Raj Kapoor’ philanthropic emotion.
Rani Mukherjee is true to her loud character. She does it so perfectly it does stick out in few scenes, she makes the dream a tad too perfect, while Ranbir and Sonam keep you hooked with their imperfections and bona fide antics, the experienced duo makes the celebration a tad too vibrant to digest.
Salman Khan, I think , did this role on AWOL.
It seems Bhansali has stayed in these sets for eternity, the low angles, the little sweet nothings here and there(tum awaara ho, aur junglee bhi), the poise and orchestral élan with which he executes the fable is flooding with high almost alarming levels of self-esteem and pride. He somehow escapes the predictable with an almost Dostoevskian twist.
Few memorable sequences- the walk in the rain suddenly giving way to snow, the zigzag hop, the last parting shot of Zohra Sehgal(she is above critiquing) looking at a B&W frame and then looking away, the countless ‘sprints’ all laced with throbbing work from Monty, the over-the-top telephonic conversation between Ranbir and Zohra Sehgal, the title song in reprise part sequence and the shot where Ranbir looks at his palm and squats down outside Sakeena’s house.
Saawariya is almost a play yet not one; it is a path-breaking piece of contemporary Indian cinema, a cinema that goes all out to transform the obsessed belief on the screen.
21 Responses to “Yet another Saawariya review”
Leave a Reply
Our Comments Policy : The following kinds of comments are troll capped, blocked and/or commenter's identity reported publicly: Verbal abuse, personal attacks, hate statements, spam, trolls, advertising. Please assist us in keeping the comments clean. Use the contact form to let us know if you find unwarranted comments on PFC. Thank you.
- 10th Osian’s-Cinefan Awards
- Rob Long’s MARTINI SHOT at KCRW
- I Wanted Jim Carrey as the Joker, But Heath Ledger is…God!
- GoMiCh, the Trinity
- Heath Nolan and Christopher Eckhart are anarchists!
- I Wanted Jim Carrey as the Joker, But Heath Ledger is…
- Contract – RGV RI
- Anurag Ka
- DOORDARSHAN- DOWN MEMORY
- G
Recent Posts:
Hottest Today:
songs were pretty much the only saving grace for me Tushar. if you are going ‘dreamscape’ cenceptually, go full throttle, you shouldnt be dilly dallying around thinking whether to stay close to the story - make a grand entry for RK’s grandson- or add some more details to the backdrop rather than the dialogue etc etc etc all at the same time..!!
and dreamscape theory comes with soo much loopholes!!!!
indian currency… indian references here and there ….
excellent review tushar=d>
i pretty much agree with all you have said
the movie should be viewed not as a conventional 3 act bollywood fillum on “innocent love” rather it is a mood peice exploring love in all its forms
people are going to miss out on this movie if they go by review of conventional film critics who totally didnt get this film.
Arre kya Tushar bhai??!!
Mere ko kuch bhi nahin hue iss film ko dekh kar!
Chalo, it seems the positive reviews are suddenly growing in numbers with this film.
I wished i liked it. I really, really do.
But sadly…..i can’t say i did.
Afsos..afsos……
waaoow!!!
@DPac, yes that is a valid point, in fact reality constantly ‘fingering’ dreams is a constant theme in the film. When Sakina is enjoying in the pub or Raj is singing the ‘pari’ ode to a group of prostitutes or Gulabji throwing Raj out of their brothel all beaten up, it is like a tarnished fairy tale. There are no pretty faces around, except the few lead players, and the camera doesn’t shy away from showing not so pleasing things/faces to the eye. As for the backdrop, I didn’t think it was critical to be that detailed, they are declaring right at the start its a dream city so that pretty much drops it. As for RK’s grandson launch vehicle, I can’t remember a better debut in recent times.
Thanks Maya.
Steve bhai!, bhelcome back, long time :)I loved the film to say the least, I just got up and had such a nice feeling about viewing the film, it has a high ‘hangover quotient’ too. I could never watch Black at one place, may be I should do that now. May be I get his obsession.
IT IS A INDEED A WOULDERFULL FOR THE CREATIVE PEOPLE - AND I AM ONE AMONG THEM TO HAVE VISION TO DO SOME THINGE DIFFERENT IN MY LIFE
SHARAD
Pretty much what I have been saying this whole of last week!!
Chalo Tushar, I’ll watch it again - only because of this review - just to see at what point I’ve lost the transmission.
That would be the best compliment for my film reviewing. Now I am really scared!
Tushar - nice write-up! The one book, one chapter thing is nicely done
I completely agree with everything you’ve said here.
I also consider it to be bhansali’s best and most honest work. and I think what he has been trying to accomplish with his other films like devdas and black, to a certain extent he has achieved that in this film. And the best part according to me is that I feel bhansali is very much in control of himself here. Because he has this tendency to go over dramatic, too loud and dynamic with his camera and music while in saawariya he is careful about his camera movements capturing small small moments and details and shows the kind of restraint which you’d never expect from his films.
Another thing is cinematography, choreogrpahy and art direction. I have never seen anything so visually detailed, innovative and beautiful. its comparable to any film in the world.
And obviously Zohra sehagl is wonderful but I was surprised with rani mukherjee. Although I am not very fond of her but I think she has done really well. and for a change she is not crying or cribbing in this film unlike in her other films. For me, suddenly, her spunk and spontaniety that was there in her initial years in back.
I dont think sonam was that good but Ranbir is looks natural, honest and effortless.
The first thing I thought of after watching saawariya was exactly what you have written above- its like a beautiful broadway musical with a considerable level of unexpected detailing.
Tushar, i really agree that its a pathbreaking film in terms of commercial cinema. in fact i want revisist all his films now that i have seen sawaariya. the film is flawed no doubt, but then as you say, no dream can be perfect in its language. SLB dares to bridge the gap though! this is undoubtedly his most holistic film in terms of vision and its translation.
Tushi,nice post. but dont agree with u abt d film. hav a freind who will always go against what we all say. if we all say lets go rite, he will say m going left. looks like u have made it to d same club. first RGV ki aag and now saawariya. dear dear, need to show this review to SLB. he will be really happy. as far as m concerned,this was the second film in my 27 years of existence that made me sleep. may be i preferd my dream more!! the first was haan, maine bhi pyaar kiya hai.
found an interesting and funny article mentioning the reason behind the failure of Saawariya in Tamil Nadu…
http://www.prempanicker.com/index.php?/site/why_did_saawariya_failed_to_click_in_tamilnadu/
i am schocked that people have had such a hate for saawariya . i agree with tushar you mus,nt trie to find a logic explanation behind the story,the sets….etc . i think saawariya should be one , or the film that MUST be send to THE OSCARS. SAAWARIYA A SPLENDID FILM.
http://greatbong.net/2007/11/15/saawariya-the-review/
read this review those who havent already you will laugh your ass off
Bravo!..your’s is the only review which has done justice to the movie. Honestly, I din’t think that I will like this movie, when I saw the promos. I loved Saawariya for its original pace, music, lead actors and for SLB’s vision.
now.. i think i’m ready to take a look… :d
yeah i completely agree with the author its a live theater on screen to explain in few words. what theater artists do on stage is glamorized by SLB…
Thanks for the humbling comments everyone.
@Indraneel, I am pretty late to the club!
@Subrat, thanks. I feel like a
Rakyesh Omprakash Mehra on the film: