Radha Ka Sangam (1992)

What does one say about a film that turned out to be a colossal let down when it released at the box office back in 1992? A film that boasted of a stupendous soundtrack full of melody by Anu Malik, starred two of the 90’s most prominent actors, Govinda (who had just hit gold with Swarg) and Juhi Chawla (who was riding high from the hit Raju Ban Gaya Gentlemen) and a film that promised a high octane love story but yet ended up to be such a disaster, that it was removed from most cinemas within it’s first day of showing!

Kirti Kumar’s pastoral love story of reincarnation and enkindling romanticism is a film that I believe was badly bested by audiences when in actual fact there were many other films at the time which were ignominiously patched together yet raked in the moolah. At the time of it’s release I was a mere five years old and failed to understand the complexities of the tale but there was something about Radha Ka Sangam that stayed with me…be it the unorthodox climax or the lilting music that made me search high and low for this saga and re-visit it some fifteen years later.

A desolate mountain top reverberating with squalling winds brings Kamal (Govinda) to its peak who openly declares his love to a dubious Rupa (Juhi Chawla). Kamal, who without even a thought prepares to jump to his death from the scaling heights after Rupa informs him that if he can’t live without her, he can surely die within her presence. Yet time had another lesson to teach the two of them, when just before he hurtles off the cliff top, a mysterious Baba stops him, proclaiming that Kamal should not make the same mistake again.

A mistake that lies embedded in the folds of time and through flashback, Radha (Juhi Chawla) appears jolting through flower laden meadows and aquamarine streams in a small village of sublime nature where she meets and falls in love with her Shyam (Govinda) much to the angst of the village thakur and dacoits who deem Shyam as a thief to their desire.

After declarations between the two lovelorn youths of “prem hai janmo ka sangam” they eventually wed, only for Radha to face the wrath of her lecherous brother-in-law Chander (Kirti Kumar) who had once been promised to Radha. Before Radha and Shyam can fulfill the union of their bodies along with their souls, Shyam is sentenced to prison for a crime he has not committed, leaving his newly wed Radha pining with her mother-in-law (Mala Sinha) for the day when her Shyam will return to their abode.

Poverty stricken and tainted as being unlucky for her husband Radha becomes smothered with a veil of depression, a veil that only lifts when she learns that Shyam has been found innocent and will be returning home and at last the symbiosis of Radha-Shyam will take place.

The powerful tide of time overpowers everything, kingdoms fall, evil dies, relationships change, seasons wither, and the new sun rises and it is in that one moment of time that Radha gives up her life before she meets her Shyam…uttering under her last breath that the two will surely meet in another life.

When Shyam arrives home to find his Radha lifeless yet still in his enceinte, he too passes through to another world, where the two are reborn as Kamal and Rupa…and thus the sangam of Radha takes place.

So just why do I hold Radha Ka Sangam in high regard? To most it sounds like a routine love saga with a reincarnation theme but for me, I can not help but see the Raj
Kapoor-esque mould of cinema through the camera lens, which is in actual fact highly akin to Ram Teri Ganga Maili, where the female protagonist awaits her beau and faces the turbulence of society in her pining.

Kirti Kumar symbolist style of direction speaks more than any dialogues throughout the film and the subtly of certain scenes makes for thought provoking viewing. Take for instance, the scene when Radha sits gazing into space after Shyam has been taken away and a scorpion stings her, yet she remains unflinching although she is a corpse. The sting from the scorpion represents the physical pain of a human being yet she lessens this in comparison to the mental pain of her longing for her love.

Whilst in Ram Teri Ganga Maili, the water becomes a symbol of the physical journey of the lead character, Radha Ka Sangam shows the journey of how the internal growth of a persons longing reaches its pinnacle similarly through nature. The director has mirrored this thought aptly through a tree which grows just like the relationship of Radha and Shyam yet then dies once uprooted, only to be planted again and nurtured in another environment, mimicking the concept of reincarnation and the union of the same souls in another era.

Musically, Radha Ka Sangam is a soundtrack that is often ignored just like the film. Anu Malik had composed a few noteworthy soundtracks at this particular juncture of his career namely Sohni Mahiwal, Mard and Ganga Jamuna Saraswati but Radha Ka Sangam is a pure paragon of his ability to infuse melody and soul into a soundtrack. “O Radha Tere Bina” is beautifully rendered by Lata Mangeshker and Shabbir Kumar (a talent that has been criminally underused) and Kirti Kumar also shared the microphone in a decent attempt with “Do Bole Kekhe Hum To Haare Hain” alongside Lataji. Whilst at the time of the release of the soundtrack, there was controversy over the fallout between Lata and T-series who allegedly attempted to dub the songs she had recorded for the film with the voice of Anuradha Paudwal (who sung the title track “Prem Hai Janmo Ka Sangam”) it is only by God’s grace that the scintillating “Bichwua” song was saved from such blasphemy as Lata reaches amazing heights through her vocals in this particular gem.

Govinda had often tried his hand at more than just comedy in the early days of his career with films like Swarg, Bhabi, Aawargi and Karz Chukana Hai but alas the junta was only ready to accept him with his buffoonery antics of the David Dhawan ilk. Kudos to Kirti Kumar for bringing out the romantic element of Chichi in Radha Ka Sangam as he delivers an earnest performance and one wonders from watching him perform in such a role, why he did not go on to become more of a romantic hero in his primetime.

Juhi Chawla is my all time favorite actress…and whatever praise I have for her is always inadequate. The village belle was a role that Juhi took to with uttermost precision and went on to master in films like Bol Radha Bol, The Gentleman and Ghar Ki Izzat yet in Radha Ka Sangam she perhaps looks her most radiant and charming. Again, an actress who became more renowned for her chirpy giggle, Radha Ka Sangam offers a chance to see Juhi in a more serious avatar and she certainly shines. Late Divya Bharti was initially offered this role but later dropped by the director but I can not envisage anyone else other than Juhi who bought her vulnerability so effortlessly to the character of Radha.

Visually, Radha Ka Sangam is allowed to be incriminated for being so nectarous, each and every frame captures the agrarian ambience adding a simpleton feel to its charming screenplay.

To most people, Radha Ka Sangam is a film that evokes no memories…because it is a film that most deem worthy of forgetting. I am not stating that it is a masterpiece of a film by any means…I however view it as a film that has resisted staling like many of the films from the early 90s…there is no forced comedy, no cringe worthy dance routines and holds a theme that still remains open for a lot of debate. I still can’t fathom as to why it was received so coldly, maybe the reincarnation theme was too hard to digest for audiences, maybe it didn’t offer the ingredients of a Masala hungry viewers…but whatever it was, Kirti Kumar must have sold out to what he thought audiences wanted after this disaster as his remaining filmography leaves a lot to be desired.

“The entire world continues coming and going in reincarnation” (Sri Guru Granth Sahib) …much like cinema, some of it leaving its mark unexplainably, like Radha Ka Sangam did for me but for few others.

"Originally published on PassionForCinema.com> http://passionforcinema.com/jodhaa-akbar-review/ "

Jodhaa Akbar (2008)

It’s been a long time since I have walked out of the cinema hall with a feeling of equanimity and the asseveration of having just witnessed a film that will go down in history as a classic. The last time I was overcome by such a feeling was with Sanjay Leela Bhansali’s poetic Saawariya, a film that many people rejected for its folklore style.

Jodhaa Akbar rekindled my faith in why Hindi cinema is the greatest entertainer in the glimmering world of movie lights, for it could only be the Hindi film industry that could conceive such a monopolizing oeuvre.

Set in the 16th century, Jodha Akbar is a sumptuous saga of romance which blossoms under the schismatic setting of political astriction during the Mughal era.

Rajput King Bharmal of Amer (Khulbhushan Khabarnda) arranges a marriage of alliance between his daughter Jodhaa (Aishwarya Rai) and the Mughal Emperor Jalaudin Akbar (Hrithik Roshan) thus sewing the seed of tranquility between both communities.

However, Akbar is unaware that Jodha resents the consanguinity in which she has been used as seal against the polemics of politics, presenting him with a battle far greater than those he has enacted on the warfield…to conquer the love of his queen.

Armed with his heart as his weapon, Akbar’s language of love is as confident as each swing of his sword and by the time he has managed to encapsulate Jodhaa, the soil of the Mughal dynasty is marred yet again with the threat of annexation in which Akbar’s love for his kingdom becomes parallel to the love of his Jodhaa.

Asutosh Gowariker has to be congratulated for making a film with such conviction and executing his story on such a grand platform. Whilst the general consensus of many is that historical films dabble more in the complexities of the past through stolid like factual presentation, Gowariker is able to use his finesse of mixing drama with authenticity – the result being an exhilarating lesson in history which also carries a strong heart. The nail biting battle scenes have all been captured with sharp camera movements, transporting the viewer to the battlefield, the tense palaver between Ila Arun and Aishwarya demanded pin drop silence from everyone in the cinema hall…exemplary of the maestro director’s ability to capture the audience and throw them into a bygone era.

Hrithik Roshan as the Great Emperor Akbar is awe-inspiring. His performance is of dizzying heights, meticulously delivered without any room for criticism. Roshan epitomizes perfection, both physically and creatively resulting in the finest screen presence to be witnessed since Amitabh Bachchan. His Akbar is powerful and unflinching yet in a split second can transform to a smirking lover of loyalty towards his queen presenting a humane depiction of a figure who was obviously more than just a temerarious ruler. Roshan proves yet again just why he is the finest male lead to grace the screen since the millennium.

Aishwarya Rai is always at her best when she is regal and in Jodhaa Akbar she is dignity personified. The character of Jodhaa demanded a fiery yet graceful streak of personality and Rai achieves this balance with uttermost ease. The scene where she exchanges heated words with Akbar upon his accusation of her deceit is tremendous as she conveys vulnerability with angst, using her eyes to emote a thousand words. A character that does not demand huge amounts of dialogues but more so relies on the ability for Rai to emote with her expressions resulting in a play of wholehearted curtailment. Jodhaa Akbar is sure to go down as one of Rai’s finest examples of talent.

A R Rahman’s music may not be of chartbusting quality but it moulds itself into the story in such a way that without becoming officious to the narrative, it still acts as a conclusive transition, especially the Sufi style “Khwaja Mere Khwaja” which oozes a spiritualistic aroma of melody. “Azeem O Shah Shahensha” is robust in its presentation and only electrifies the magnitude of the character that Akbar was.

One can not speak about Jodhaa Akbar without mentioning the cinematography and costumes. There is a danger that when films are seeped in such grandeur, they shimmer more for their ability to satisfy the visual palette rather than offer satiating content but Jodhaa Akbar does not suffer from this ailment. The need for the ostentatious presentation is fully justified and equally rewarding to the eye, be it the intricate halls of the palace or the deliciously crafted jewels, all have their place and thankfully due to a taut screenplay, do not serve as mere ornaments by which viewers can pass their time admiring their beauty. Rather, one spends the duration of the film engulfed in the proceedings of the story which are only taken to a higher level with the alluring ambience of the Mughal era.

Period dramas carry with them the promise of acting as tools for society, where in today’s times many people are recalcitrant to pick up a book and read history; cinema offers them the opportunity of visually engaging with the quondam and interpreting facts in a more appealing manner. Jodhaa Akbar allows its audience all of this in a manner which is simplistic in relaying chronologic events yet also embarks on a simultaneous journey of love and acceptance, mixing the two to create an evocative experience.

History with a heart, Jodhaa Akbar ravages the screen with its royal fest of nobility and catalytic performances , crowning it’s viewers with cinematic glory.

"Originally published on PassionForCinema.com> http://passionforcinema.com/jodhaa-akbar-review/ "

Dillagi (1999)

A high voltage love triangle graces the screen in Sunny Deol’s directorial debut Dillagi, a traditional tale of two brothers in love with one girl.

Hindi cinema has witnessed umpteen love triangle sagas be it the celluloid classic Sangam or the musical Saajan, from bubblegum flick Kuch Kuch Hota Hai to the epic Hum Dil De Chuke Sanam. So, one may ask what makes such a tried and tested formula an enjoyable experience in the form of Dillagi? Quite simply, the treatment of a hackneyed plotline and the flawless performances makes Dillagi one of the best films to come from the Deol dynasty, thus transcending to a highly exhilarating cinematic experience.

Ranvir (Sunny Deol) and Rajvir (Bobby Deol) are two brothers who are poles apart. Whilst Ranvir is the sagacious elder who runs the family empire, Rajvir aka Rocky enjoys his playboy lifestyle whilst indulging in girls, alcohol and parties much to the worry of his father (Dara Singh) and grandmother (Zohra Segal.)

Enter Shalini (Urmilia Matondkar) a naïve and simple girl of a middle class family whose parents (Reema Lagoo, Khulbhushan Kharbanda) only wish is to see her complete her studies and marry. However, Shalini becomes prey to Rajiv’s charming ways and it is not long before the two strike off a friendship much to the dismay of Shalini’s friends who warn her of Rajiv’s whorehound antics.

Love is blind and Shalini’s eyes become equally clouded with dreams of marrying Rajvir much to the upset of her parents who wish for her to meet Ranvir as a prospective husband. Ranvir…who has loved Shalini by treasuring those moments in which he has seen her by glance yet never had the courage to express his love, arrives at Shalini’s doorstep with his heart already in Shalini’s hands.

A cruel twist of fate leaves all three characters wounded by Cupid’s arrow. Whilst Shalini rejects Ranvir only to realize Rajvir never loved her, Ranvir wallows in his sorrows of dejection and Rajvir comes to realize that perhaps his perception of frivolity accounts for much more when it comes to love.

Dillagi’s mainstay is based upon the fact that Sunny Deol has taken out the melodrama associated with most routine love triangles and presented a story which is seeped in reality and at times is highly relatable. The college ambience and the depiction of Gen x is a highlight of the film and depicts the double life that many youngsters lead in and out of the family home.

An interesting idea that the film presents is how young girls can easily be mislead in the world of starry love like dreams. The revelation comes in the form that the traitor of Shalini’s love is not a villain, but a believable character that is perhaps representative of a large population of the youth who are laidback in their approach to relationships. This message in itself makes Dillagi compulsory viewing and whilst not once does the film preach, it does make the viewer think about the gullible facet of human nature in todays fast moving, no nonsense world.

As a director, Sunny Deol should be commended for a number of sequences which he has treated with extreme precision. Take for example the scene where Shalini is humiliated by Rajvir at college, the flow of conversation between the two seems straight out of life and the following portions of Shalini rebuilding her confidence with her parents all strike a chord with the viewer’s heart.

Furthermore, both Deol brothers share a sparkling chemistry onscreen making for endearing viewing whilst the crux of the film succeeds in creating a high flow of emotional quotient, a prerequisite for any good love triangle.

Sunny Deol as the humble and mellow brother is a revelation. It is a refreshing change to see Sunny play a more subdued character rather than the roaring beasts of men he has become associated with. He captures all the right nuances and delivers an extremely likeable performance, much like the role he went on to play later on in “Apne”. An interesting point to note is that whenever Sunny takes on a role opposite Bobby Deol, he seemingly inhibits the more soft-spoken role, an indication perhaps of his real life character traits.

Bobby Deol as the stylish college rouge manages to generate both awe and angst from the audience with his performance, matching Sunny Deol step for step. He proves that he is confident not only with lighter moments but can easily tackle the zealous strands of cinema. Also, in the moments that offer him opportunities of outburst he gives a convincing delivery and manages to span a wide range with the character of Rajvir.

At the time of the films release, Urmilia Matondkar was riding high on the success of Satya and Kaun but also simultaneously facing the backfire of duds such as Janam Samjha Karo and Hum Tum Pe Marte Hain so Dillagi offered her the chance to revert back to essaying the role of the quintessential heroine. However, the role of Shalini is more the guileless college girl rather than glamorous goddess and Matondkar fits into the character effortlessly. Like Bobby Deol, her character too undergoes a variation of emotion from innocuous to downhearted to exasperated giving Matondkar a platform to excel. As well as looking alluring, she manages to bracket her performance in the same league as that of Kajol and Madhuri who have both played the college girl with élan in their respective careers. It wouldn’t be wrong to state that Dillagi is perhaps one of the finest performances to come from Urmilia with regards to her commercial films.

Zohra Segal as the grandmother is one of the sweetest elements of the film, portraying a role that will evoke smiles and laughs every time. Ditto for Reema Lagoo who as always is reliable as the concerned mother.

Dillagi offers a stellar soundtrack which provides excellence throughout. “Sangeet” – a peppy, traditional number which has become immensely popular for many wedding functions and “Dhoom Dhoom Luck Luck” provide the heavy Punjabi theme throughout the film. However, that is not to say the album is all beats and no melody as the soul stirring “Kya Yeh Sach Hai” makes for essential listening for fans of romantic ballads and the energetic title track “Dillagi” which is interspersed throughout the film, is worth a listen purely for its use of ten singers in one track.

A special mention must be given for the bouncy picturisation of “Sangeet” which magnificently captures the mayhem, glee and glory of a sangeet function and appears charmingly rustic as a result.

Initially, Sunny Deol had teamed up with famous Brit director Gurinder Chadha for a project called “London” which after the two parted ways became “Dillagi.” This may be the reason that at times; the film cinematographically takes liberties when referring to the décor of Shalini’s home which appears to resemble London interiors and exteriors within India!

Although Dillagi struggled to find success at the time of its release, it is one of the most highly underrated films belonging to its ilk of traditional love triangles. Sunny Deol in the director’s seat managed to create an engrossing tale sans bathos resulting in a clever conceptualization of modernity meeting love.

Cardinal family viewing, Dillagi mixes familiarity with a splashing of vanguard and as the tagline suggests…The Fun Never Ends.

Sajna Ve Sajna (2007)

Director Hartinder Dhami makes his directorial debut in Punjabi family drama Sajna Ve Sajna, a film that launches renowned musician Bally Sagoo upon celluloid.

Punjabi cinema has seldom been innovative and so if you are walking into the cinema halls of Sajna Ve Sajna expecting path breaking cognitions, you will highly bemused. Instead, Sajna Ve Sajna stays in the zone of wholesome family entertainment and in doing so appears as a crumb of comfort for those willing to indulge.

The story unfolds in Pakistan where the marriage of Manjeet (Preeti Jhangiani) a humble girl working in Nankana Sahib Gurdwara is broken off due to her future in-laws stating she is too educated for their son. Much to the dismay of Manjeet’s adopted family which consists of Fatima Begum (Madhumathi) and her brother Jibran (Asif Shaikh) who desperately want to see Manjeet wed, whilst Manjeet believes that God has written her destiny with another and thus accepts circumstances as they unravel.
Cut to England where Bali (Bally Sagoo) spends his time composing music with his struggling band Desi Fever which consists of his English girlfriend Charlene (Zoe Szypillo) whilst relishing the wealth of his wealthy grandfather Kartar Singh (Dalip Tahil) who has become accustomed to his grandsons spoilt ways.

In a twist of events, Bali becomes hospitalized after a car accident and is reduced to a coma, much to the distress of his family, so much so that Kartar Singh pays a visit to Nankana Sahib to seek blessings for his family. It is here in Pakistan he comes to meet Manjeet and aware of the fact that she wishes to continue her work in temples across England, takes her back with him and honors her a place in his family home.

As Balis health begins to blossom, so does a friendship between him and Manjeet and it is not long before Manjeet and Bali’s family begin to dream of marriage plans between the couple. However, Bali is in love with Charlene, a girl he knows his family will never accept yet a truth he can not hide from. Upon her dreams shattering, Manjeet vows to unite Bali and Charlene before returning to Pakistan forming a routine crux of love, sacrifice and honor.

Sajna Ve Sajna is saccharine cinema in its full glory which you will either love or hate. The director relies upon cliché upon cliché to present what could have been a novel concept of clash of cultures in a mundane fashion. In fact, the film deals a striking resemblance to the earlier released Namastey London only presenting its screenplay in a more simplistic manner.

Family audiences and those who are still in favor of vintage cinema will certainly shower laudation upon Hartinder Dhami for his reaffirmation of traditional family values as the film stays faithful to the idea of arranged marriages and abiding youngsters, perhaps a concept hard to digest for the modern sector of today’s times.

The biggest downside of Sajna Ve Sajna comes in the form of one of the key elements of a satisfying film, performances.

Bally Sagoo in his acting debut seriously needs to re-evaluate his decision to grace the silver screen for he lacks the ability to even deliver his dialogues in a convincing manner, yet alone emote. He appears nervous, bored and extremely uncomfortable throughout the entire film making one of the poorest male leads to be seen in a while. The fact that whenever he spoke evoked unintentional laughter from the audience means it is suffice to say that Sagoo delivered a performance which can be deemed to be as blank as bricks.

On the other end of the spectrum, Preeti Jhangiani is the saving grace of the film. An actress who has not found much success in the world of Hindi cinema, in Sajna Ve Sajna she makes one sit up and take note of her ability and carries the film on her shoulders entirely. It was a refreshing change to see Preeti in a wholesome role and one hopes that her venture into Punjabi cinema will not be short-lived.

Zoe Szypillo is painful to watch. She looks attractive but again delivers a torturous performance, topped with extremely corny dialogues. Her facial expressions are extremely loud making her appear more like a clown as she pouts and beams coyly throughout the film.
Dalip Tahil is excellent as the traditional grandfather and ditto for Madhumati, both play characters that surely a lot of people will identify with.

The biggest assets of Sajna Ve Sajna come in two forms…the pictorial visuals of Scotland which have been captured in uttermost glory and the soul stirring music. “Pyar Pehli Vari” resonates throughout the film and is melodic the ears whilst “Yaar Di Zulf Udoondi” boasts of fabulous picturisation and equally enticing lyrics.

Hartinder Dhami shows promise as a director with Sajna Ve Sajna, not once allowing the pace to slacken or deviating from the original plot. The only problem is that it is a case of old wine in an even older bottle making for cliché upon cliché, offering a story as foreseeable as ABC.

Contrary to impression, I unashamedly enjoyed Sajna Ve Sajna for its predictability and at times corny concoction of a tale. If you can get past the bad acting from the male lead and the sporadic cringe factor, then Sajna Ve Sajna merits at least one watch on a rainy afternoon.

Aaja Nachle (2007)

Madhuri Dixit. A name that needs no introduction. Its mere existence speaks volumes of its stature. A name that carries a sense of dignity, grace and a promise of performances of the grandest caliber.

So with the queen bee of Hindi cinema returning to the silver screen in Anil Mehta’s Aaja Nachle, expectations are only titanic and with a title that promises profound promenade, an awe-inspiring Dixit asset, audiences can only expect a delicacy of eminence.

The story starts with Dia (Madhuri Dixit) gyrating to the techno beats of a hip track in her New York Studio where she shows her students just how it’s done, setting the standards high for a visual spectacle of dance and merriment.

It is amidst these vigorous diapasons that Dia receives news from India of her guru ji’s ailing health and makes the decision to return to pay her obeisance before his last breath, setting foot in the town of Shamli where its inhabitants hold only contempt for Dia and her traitorous past.

Just like a vinyl track delays it’s embarkation of glory, Dia too arrives in Shamli only after her guru has departed from the world, leaving her with the challenge to bring the art back into people’s hearts and resurrect a now desolate and dilapidated Ajanta Thearte – the temple of Dia’s childhood learning’s.

With only two months to succeed in staging a mammoth stage play of which its players must only be those of Shamli, Dia has to ensure she is first past the finishing post. Faced with a number of abecedarian townsfolk as her students, the rest of the story sees how Dia manages to replace angst with ire to once again ignite the spirit of art in Ajanta.

Aaja Nachle is very much like an unreliable car…it starts off smoothly carrying its passengers on a high voltage journey but then midway breaks down leaving them stranded on a road of sluggishness pace, only then to restart in it’s belated finale.

Anil Mehta must be applauded for taking on a woman centric film which is sans melodrama and tears which only goes to prove that not all woman orientated subjects have to be about the oppressed female making Aaja Nachle a refreshing change. However, the problem is that the story is wafer thin and lackluster and has been unnecessarily stretched out to offer very little to it’s viewers in terms of content.

Granted that the approach of the film is to appear rooted in a degree of realism hence the tale takes a simple route but it seems the director compromised his original sentiments at regular intervals in the film. Take for instance, the title track Aaja Nachle where the screen explodes with a dozen backing dancers and a flamboyant set design…pleasing to the eye but a thistle in the flowerbed considering the character of Dia is struggling to find people to join her troupe yet so effortlessly manages to indulge in this grand number.

Furthermore, the proceedings begin to appear extremely calculable midway…the usual suspects of stern businessmen, corrupt politicians and hot headed hooligans all serving as Dia’s oppositions are easily won over by a mere exchange of punchy one liners or fiery jabber leaving the story in one dimensional mode. The film could have been a vision of brilliance had we been able to witness just how a female goes about to subjugate unbending chauvinists instead of settling for the pablum manner that unfolds before ones eyes.

The summation presents itself in full allurement where the audience is greeted with a spectacle of a stage show, complete with all the frills and twirls of glittering sets and rococo dance sequences…all too hard to digest and all too commodious for a tidy ending which packs in a great polish but not enough passion to convince of this facile omega.

As this is a Madhuri film, the viewers are gifted with her presence in almost every frame and that’s what makes Aaja Nachle worth a watch, purely to see the veteran work her magic yet again. There is little to be said about Madhuri’s capabilities as she always delivers and manages to encapsulate her audience with her charm and in Aaja Nachle she is just as dependable, looking extremely radiant throughout. Yet, the sad part is that she is let down by a poor story that doesn’t offer her the potential to reach dazzlingly heights in terms of performance. I for one would like to see her take on the role of a classic in perhaps a remake of Mother India or Pakeezah, a performance that would merit her talent.

The rest of the cast have little to do apart from evoke a few laughs. Kunal Kapoor is extremely likeable as the hot blooded male and how one hopes more is seen of him in fuller fledged roles. Konkona Sen is adequate although she doesn’t leave as much impact as one would have hoped. Akshay Khanna as always is flawless.

Musically, Aaja Nachle presents its best in the form of its title track which is sure to go down as another of Madhuri’s great dance fetes. The rest of the tracks bearing “Show me Your Jalwa” are mediocre, a sore disappointment in what was supposed to be a dance centric film.

Vaibhavi Merchant has been given the chorographical reins this time around but seems to have been quite bromidic with her moves. Although Madhuri shines with whatever material she is given, the numbers are certainly not outstanding when compared to her work in Devdas, Lajja, Beta and Khalnayak which leaves one thinking that perhaps Saroj Khan would have been a better choice.

Even in its conclusion one wonders what the purpose of the film was…there is never any mention of what went on to happen of Ajanta Thearte as the character of Dia returns to New York. As a result the viewer is left disorientated with the fact that perhaps the whole premise of the film was to act as a stage for Madhuri’s dance abilities and nothing else, which leaves the film mocking its own sensibility of nurturing ones heritage.

In the films climax, Madhuri delivers an apt line – “I came to India to fulfill my responsibilities and now I am done, I am going back” – but her loyal fans will surely agree that Madhuri has to grace the motherland yet again with her gift from the God’s. Madhuri has a lot more to offer than just Aaja Nachle, a promise of a spectacle that appears to have arrived not with a bang but more of a whimper.

Waris Shah - Ishq Da Waaris (2006)

A spiritualistic story of a Sufi saint who finds inspiration in love, eclipsing into epic of Heer. Waris Shah delves sonorously into devotion in an exuberant manner, presenting a high voltage period drama.

Punjabi cinema has often been deemed as vulgar and clichéd, warranting only a layman status for its films which were accompanied by unendurable performances and tasteless storylines. However, post millennium; Punjabi films have undergone as stark a revamp as a Laurence Llewelyn Bowen boudoir, replacing the hoary with the contemporary. So when National Award winners Sai Productions announced their latest venture, Waris Shah, the first big budget period drama to originate from Punjabi cinema, expectations were mammoth.

Set in the Mughal era, the story unfolds with the emperor Aurangzeb lamenting a ban on music which he believes distracts one from God, a prohibition which hallowed saint Makhdoom chooses to ignore thus being sentenced to death. Before his early demise, he instructs his disciple Waris Shah (Gurdas Maan) to travel to Malka, a village where the ban has not yet been placed and an arena which he believes will inspire Waris to write his poetic tale, Heer.

Waris soon finds his muse in the form of Bhagpari (Juhi Chawla) and the two form a sinless love which serves as the backdrop for Waris Shah’s writings. As pigeon messengers, poetry and melodic tunes of flutes all come together to decorate the lovers rendezvous, a jealous and lustful Saabo (Divya Dutta) vies for a piece of Waris’ heart, only to be rejected by his upholding morals.

As the woman scorned Saabo vows revenge and instigates suspicions amongst the villagers that Waris and Bhagpari share an illicit relationship and upon Bhagpari’s espousal to another, seeks yet again to find acceptance from her infatuation. With love turned into the bitterness of lime, the three are left caught in a web of murder, misery and mediation.

Waris Shah should be applauded for bringing about one of the most positive changes in Punjabi cinema; it goes against the grain of every cliché and brings about an innovative and high quality experience which not only looks sleek but also carries a soul. Thankfully, the audience is saved from nonsensical subplots, forced comedy and commercial gimmicks but instead director Manoj Punj stays faithful to his story and delivers the finest of his career.

Performances are of a dizzyingly high caliber with Maan taking the forefront for his sincere portrayal of the famous poet Waris Shah. Maan brings about believability in a figure that is otherwise quite enigmatical to history and breathes every breath of Waris Shah as though it was his own. Unfeasible to imagine any other in his role, it is his ability to project the nuances of the character in a subdued manner, sans melodrama which works. As Maan is already an accomplished singer, it comes naturally to him to project the singing lyrics of Waris Shah’s poetic brilliance and together with his meticulous image of smoky eyes and sonnet tresses; Waris Shah is reborn on screen.

Juhi Chawla, after a career that spans twenty years, still holds the screen presence and grace of a leading lady and her performance demands an extreme likeability. Be it her allusive eyes or infectious smile, Chawla bestows the character of Bhagpari with all of the knowledge of a seasoned veteran.

Divya Dutta in a role that merges into the grey spectrum is a revelation. She manages to create a fine line between the fiery Saabo and the susceptible woman and thus walks away with the meatier female character.

A film with a legendary singer as its lead promises timeless music and together with Jaidev Kumar, Maan creates a spellbinding composition. The film is ornamented with emblematic verses of Waris Shah’s Heer verses throughout, also serving as much of the dialogue which is a treat for those in want of rich palaver. “Ve Kabootra” proves to be one of the most soulful gems of the noughties whilst “Kas Shama Aaj Tere Li” oozes with the haunting vocals of Kavita Krishnamurty. The songs serve to only move the story ahead and with a film that is central to the arts, the music comes as a welcomed gift.

The painstaking attempt to recreate the 18th century era is prominent in each and every frame and cinematographer R A Krishna has left no stone unturned to transport the audience into a medieval world.

Credit must be given to Manjeet Maan for the costumes of the film which were meticulously researched in various museums to depict the timescale aptly. The colors of the film work in such a way that they entice the viewer into a world of finery and murshidabadi silks which is beautifully backed by an irreproachable script.

There have been countless love stories which have graced the silver screen, greeting the audience with melodrama and cringe worthy dialogues. Yet Waris Shah goes beyond its indulgently seeped chimerical tale and ignites itself with a finer flame of spiritualism and mankind’s devotion to his ardor. This is what makes Waris Shah anything but a mundane love epic.

Waris Shah is an exemplary film not only for Punjabi cinema but for cinema across the world. Not once does it compromise itself but delivers a captivating and endearing story in an immortal mien. Late Manoj Punj never lived on to see the critical acclaim the film received when it garnered a National award but he shall surely be remembered for his pinnacle that is Waris Shah.

A masterpiece of understatement, brimming with emotion and spirit that can only be classified as poetry in motion.

Saawariya (2007)

If ever there were to be a cinematic ode to poetry and the fine lines of a painter’s canvas, then Saawariya is surely the epitome of timeless beauty that exudes from the artists mind. Set over four nights, Sanjay Leela Bhansali’s romantic escapade tells the tale of two individuals, intoxicated with amour and faerie-like dreams.

Returning after the critically acclaimed Black and the magnum opus Devdas, in what was touted as one of 2007’s most anticipated films, Bhansali launches Ranbir Kapoor and Sonam Kapoor, both children of major Hindi film actors. Although, the film has not lived up to the hype and has been heavily critiqued for its dissident style, Saawariya comes as a breath of fresh air when categorized with the usual melodramatic love stories that many fresh faces are launched with.

An unknown kingdom where winding alleyways and tropical waters merge together to create a surrealistic marriage of reality and fantasy brings Raj Ranbir (Ranbir Kapoor) a wandering musician to it’s doorstep. With only the musical notes of his fingertips as his pennies, he manages to find shelter with an unorthodox elderly lady Lillian (Zohra Segal) who finds solace in his enthralling kinesics. Simultaneously, he befriends Gulabjee (Rani Mukherji) a brazen prostitute who sees Ranbir as man who is able to touch her soul rather than her body.

Whilst strumming the strings of his musical aptitude, Ranbir encounters a weeping figure, clad in a black shawl upon a bridge, reluctant to reveal even her name, let alone her face. However, just like the magic he weaves with his guitar, Ranbir strikes a chord with the mystical figure, Sakina (Sonam Kapoor) and over a course of four nights he becomes besotted with her.

Mysteries are not necessarily miracles, and Ranbir soon learns this when Sakina reveals her past, leaving the two on a path which is strewn with more thorns than rose petals…

Bhansali, the maestro that he is, surely knows how to transport the viewer into the vision inside his mind and with Saawariya, he is sure to keep our gaze fixated on the two most important people of this story, Ranbir and Sonam, packing them into every frame thus compelling the audience into their world. Whilst many have written off the film for its slow pace and unexplainable ambience, those who are willing to let their imagination fill in the gaps will surely lap up the ambiguous approach of Bhansali’s storytelling.

Ranbir Kapoor is a complete revelation and makes his debut at a time when a fresh male face is desperately needed upon the Hindi screen. At times, his mannerisms are reminiscent of Shammi Kapoor and one wonders whether this was purposely modeled for the character of the story or whether it purely is a natural inheritance. Looking suave is just one aspect of being upon the big screen but Kapoor manages to radiate an extreme raw talent which can only gleam brighter the more it is polished. Note the scene where Sonam refuses to speak to Zohra Segal on the telephone and the manner in which he flits easily from happy-go-lucky charmer to confused confidant; it surely raises mammoth expectations for his future performances.

Sonam Kapoor as the mysterious childlike girl, intoxicated in love illuminates the screen with her timeless beauty and delivers a competent performance. However, seen as her role is at times not clearly defined and the character itself is engulfed in mystery for most of the story, there is a lack of a definite impact when it comes down to her acting abilities resulting in Ranbir walking away with most of the accolades.

Rani Mukherji as the tart with a heart is extremely vibrant and exotic in her spattered appearances during the film. She captures the nuances of the character perfectly and pulls off the brash image with an underlying vulnerability, a performance which will surely slot itself amongst more of her reputable work.

To add relief to the intense proceedings, Zohra Segal comes as a waft of sweet air and is immensely likeable.

Monty Sharma, who had previously provided a spine tingling background score for Black, this time laces Saawariya with mellifluous ballads, their depth only augmented by regal sets and infectious choreography. Whilst, “Jab Se Tere Naina” provides enough reason for the female audience to salivate whilst ogling at a towel clad Ranbir, “Chabeela” brings out the seductress in Mukherji who makes full usage of the moment to glimmer and packs in enough thumkas to send a thumri into spiraling frenzy. Criminally, the soulful “Jaan-e-Jaan” is edited to only its chorus line, disappointing those who wish to see the lyrical content of this gem transcended upon screen.

Visually, the film views just like an oil painting, swamped in blues and greens throughout and it is the director’s artistic ability to speak volumes through the look of the film which makes for essential viewing. Whilst the color blue traditionally connotes a feeling of despondency, it also works in Saawariya to promote the serenity and infinity of the progressing love story, much like the sky and the sea. Green is dabbled throughout the story and is more prominent in those scenes where the character of Gulabjee appears; hence representing her jealousy for the love that Ranbir nurtures for Sakina, yet green also signifies growth, the growth of the relationships between the principal characters which grow just like the greens of a meadow. Ironically, Bhansali is able to speak so much just with the look of his film which adds an artistic dimension to an otherwise simple story.

Although it can be deemed as presenting itself in a Marchen manner, Saawariya actually hides dark undertones under its glistening exterior, with destitute prostitutes and traduced mothers all simmering under the froth of the fairy tale concoction. Just like the traditional pass the parcel party game, when each layer is peeled away, Saawariya becomes more exciting and appears just as intricate as a Persian carpet.

Saawariya is a romantic epic, transcending time allowing the director to engulf the viewer in a Boulevard of broken dreams. A must for those who wish to view art nouveau in its grandest form upon celluloid.