Remakes are always treacherous zones. You are either
struggling hard to live up to the quality of the original or trying to be so
different that you end up making a mess.
Mess no, but a baffling Russian roulette of characters
geographies plots etc. striding away from the original screaming …ME not Sairat
!
Yet it is an official remake. The director sprinkles the
plot with endorsements for starters. Then in defiance moves to Rajasthan away
from Sairat’s Maharashtra. Right move in selecting two bright youngsters Ishaan
and Jhanvi. Earnest, but they seemed to be given the brief to watch the
original a number of times but not to imitate. The rich girl here is yawnnnnn a
politician – Ashutosh Rana – fuming so hard that his moustache hair almost catches
fire and the boy is surprisingly taken out from Jo Jeeta Who Sikander, a restaurant
owner’s son...
The rich girl for reasons not fully explained and without
requisite emotion falls in love with the poor boy and they wade through the smorgasbord
of insipid scenes in the first half. There is absolutely no attempt to capture the
freshness of the lead pair and there is unfailingly a confused workshop before
the shoot which seems to have killed any natural flair. The director seems to
be working very hard to stray away from the original script almost in defiance
of its enrapturing excellence and ends up in not capturing either the
captivating romance of the original nor the naked fear of its casteist war.
It is only when the pair in defiance of their discouraging
elders moves to Kolkata that the movie picks up steam and the lead pair look a
bit more seasoned actually excelling in a couple of showdown scenes. One
actually looks forward to the interaction of the Lodge owner a cute Bengali
dada – Kharaj Mukherjee who supports the society orphaned pair.
Those who have seen Sairat know what to expect but to give
due credit to the director ,performs better in the second half and stuns you
with the climax though the reasoning through the end titles is too pretentious to
arouse sincerity towards any social messages.
Jhanvi is a bright spot and has it in her DNA but it will be
dozen or more movies before she can really excel to the levels that her lineage
commands. Ishaan suffers from a bad directorial vision. He looks sadder than a
boy in love can or should be.
The First half is really sad and yawn inducing while the
second half does salute the original well in many departments.
They should not have tried to experiment with the music as
it nearly kills the splendor of the original.
The much appreciated choreography of Zingat is actually very
mediocre and below average. I am sure Farah is not proud of that. Not her fault
actually as the popular song is totally misplaced, has no place in a Rajasthan milieu
and the lyrics jar in a wrong surrounding.
Photography surprisingly is listless and not at all in sync with
orchestrated grand symphony sound.
Sairat in that was a class apart. There is
no effort to sync the camera movements to the grandiose of the background
music.
If anything one needs to watch Sairat again to infuse the
brilliance of the Maharashtrian excellence. Remake bagun " mala sad waatla "
**
No comments:
Post a Comment