I have a soft corner for Imtiaz Ali. Dating back to an interaction two decades back. I almost stood up when I first saw Jab We Met. The surprises at every corner of the road travelled by Shahid and Kareena were absolute delights. He evoked a classy sense of humor in Love Aaj Kal and then I watched with disconcert not sure if I had liked RockStar. Having been drunk on the heavenly music of the movie by Maestro A R Rahman and after practically selling Pataka Guddi to everyone who wanted to hear, the wait for the movie was finally worth it.
The verdict straight away. I wanted to stand up again. Just microscopically short of being a marvelous and a great movie. The opening kidnapping scene takes you back to Roja, when another master Mani had led you to the hills and captured them with the camera caressing nature careful not to pollute it with attention too much. I bit my lips praying that the wonderful songs by ARR were not tucked into the screenplay to pop up jarringly to justify themselves.
The film is not about a story. It is about treatment. It is about loving your country well enough to make it appear more alluring than a dozen other over rated countries. It is the ability to see beauty as much in a whole row of dilapidated trucks lost in time as in a snow laden country racing by, or taking the road less traveled alongside a river with virgin gurgling waters.
The protagonist Alia lands up, in a sequence of events, on a road journey with her apparently malicious perpetrator. Being on the run is not used as an excuse to showcase scenery but knowingly used as a tool to allow the individuals who are hurting from deep within to unravel themselves. If you do not allow yourself to be sucked into their lives you may find the plot-line dreary because you cannot connect with the alternating misery and happiness of the main leads.
The girl is from a wealthy and powerful family and appears gung-ho about life. Till the road journey scratches her surface provoking her to abandon efforts to get back to her cozy life and instead tease out the wound which appeared to have healed externally but is hurting deep within. The experience mirrors in the male lead Randeep's evolution in the journey. Brilliantly interweaving personal stories within the main matrix of a kidnapping used as a tool to lay out the emotional wares, Imtiaz is simply outstanding out doing himself in the process and marching into uncharted territory without sacrificing the entertainment index.
Talking too much particulars and specifics of the movie will actually destroy the experience of watching it and the hard work put in creating the various moments an accumulation of which actually completes the experience, will be lost. Softly nudging the story along is AR Rahman with his soulful numbers never ever appearing out of place and taking care never to intrude into the narrative and when it does with Pataka Guddi, Alia simply traces out the music with her fingers in the air. She even sings a lullaby with not a note lost.
There are many winners in this movie. Randeep Hooda, a wonderful actor who has been floundering for some time now trying to make a niche for himself has found his cut with this role. He performs it with the right amount of restraint never once going overboard or hamming to overwhelm his own character.
Director Imtiaz Ali brings a lot of serenity with his very clear presence behind the camera. The editing is seamless aided by great photography except when camera shots on top of a truck giving the front and the back views are totally disconnected, the rear camera showing a well tarred road and the front one showing a narrow rough road. Obviously very bad editing at that point. Perhaps they thought no one would notice it but it jars!
There are wonderful real people all along the screen play and they live up to their individual roles with natural vigour creating memorable characters. Imtiaz merits each character in the story with a unique ness that allows them to stand out on their own and make a mark in the few moments that they are on screen. Last seen only in Lagaan or Swades.
And as for the main female lead. Dare I say that this is the performance of the year? Perhaps in the last few years only Vidya Balan has come this close with her natural flair in Kahaani. Here we see a full throated performance from Alia who gives herself up to the director and his vision. This is one of the most spirited natural performances in recent times. Be ready to get choked in a final long gut wrenching climax carried on shoulders fully by the young girl. The signs of a star certainly.
Want to be surprised? Want to flush the bad experiences of some bad movies recently? Enter this Zen like audio visual experience. And you will not regret. So why not a full five star rating. Because the film is allowed to intentionally flag at some places making the narrative appear to be taking a pause. But this is highly debatable in terms of the impact they could have on the final output.It is the total sum of all the effects that complete the experience for the audience. It is difficult to believe that the movie has not been shot chronologically. So perfect is the transition from scene to scene. This is a craft difficult to create and easy to comment on. For today I will just applaud! Well done Imtiaz!
The verdict straight away. I wanted to stand up again. Just microscopically short of being a marvelous and a great movie. The opening kidnapping scene takes you back to Roja, when another master Mani had led you to the hills and captured them with the camera caressing nature careful not to pollute it with attention too much. I bit my lips praying that the wonderful songs by ARR were not tucked into the screenplay to pop up jarringly to justify themselves.
The film is not about a story. It is about treatment. It is about loving your country well enough to make it appear more alluring than a dozen other over rated countries. It is the ability to see beauty as much in a whole row of dilapidated trucks lost in time as in a snow laden country racing by, or taking the road less traveled alongside a river with virgin gurgling waters.
The protagonist Alia lands up, in a sequence of events, on a road journey with her apparently malicious perpetrator. Being on the run is not used as an excuse to showcase scenery but knowingly used as a tool to allow the individuals who are hurting from deep within to unravel themselves. If you do not allow yourself to be sucked into their lives you may find the plot-line dreary because you cannot connect with the alternating misery and happiness of the main leads.
The girl is from a wealthy and powerful family and appears gung-ho about life. Till the road journey scratches her surface provoking her to abandon efforts to get back to her cozy life and instead tease out the wound which appeared to have healed externally but is hurting deep within. The experience mirrors in the male lead Randeep's evolution in the journey. Brilliantly interweaving personal stories within the main matrix of a kidnapping used as a tool to lay out the emotional wares, Imtiaz is simply outstanding out doing himself in the process and marching into uncharted territory without sacrificing the entertainment index.
Talking too much particulars and specifics of the movie will actually destroy the experience of watching it and the hard work put in creating the various moments an accumulation of which actually completes the experience, will be lost. Softly nudging the story along is AR Rahman with his soulful numbers never ever appearing out of place and taking care never to intrude into the narrative and when it does with Pataka Guddi, Alia simply traces out the music with her fingers in the air. She even sings a lullaby with not a note lost.
There are many winners in this movie. Randeep Hooda, a wonderful actor who has been floundering for some time now trying to make a niche for himself has found his cut with this role. He performs it with the right amount of restraint never once going overboard or hamming to overwhelm his own character.
Director Imtiaz Ali brings a lot of serenity with his very clear presence behind the camera. The editing is seamless aided by great photography except when camera shots on top of a truck giving the front and the back views are totally disconnected, the rear camera showing a well tarred road and the front one showing a narrow rough road. Obviously very bad editing at that point. Perhaps they thought no one would notice it but it jars!
There are wonderful real people all along the screen play and they live up to their individual roles with natural vigour creating memorable characters. Imtiaz merits each character in the story with a unique ness that allows them to stand out on their own and make a mark in the few moments that they are on screen. Last seen only in Lagaan or Swades.
And as for the main female lead. Dare I say that this is the performance of the year? Perhaps in the last few years only Vidya Balan has come this close with her natural flair in Kahaani. Here we see a full throated performance from Alia who gives herself up to the director and his vision. This is one of the most spirited natural performances in recent times. Be ready to get choked in a final long gut wrenching climax carried on shoulders fully by the young girl. The signs of a star certainly.
Want to be surprised? Want to flush the bad experiences of some bad movies recently? Enter this Zen like audio visual experience. And you will not regret. So why not a full five star rating. Because the film is allowed to intentionally flag at some places making the narrative appear to be taking a pause. But this is highly debatable in terms of the impact they could have on the final output.It is the total sum of all the effects that complete the experience for the audience. It is difficult to believe that the movie has not been shot chronologically. So perfect is the transition from scene to scene. This is a craft difficult to create and easy to comment on. For today I will just applaud! Well done Imtiaz!
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