A LOVE LESS ORDINARY
The director and star of DDLJ reunite in a romance that’s disappointing, yet hardly dismissible.
DEC 14, 2008 – THE PLIGHT OF A WOMAN MARRYING FOR A CONVENIENCE and subsequently discovering love in the husband she wouldn’t have otherwise picked out for herself isn’t new to our cinema. In Woh Saat Din (Andha 7 Naatkal) and Mouna Raagam and Hum Dil De Chuke Sanam, the disengaged wife was tempted, at several points, to snap free of matrimony, but what held her back, eventually, was the innate decency of the man she married (not to mention the innate decorum of the institution of marriage itself). Then there was Pandiyarajan’s Manaivi Ready, where the patently undesirable hero married the heroine in a last-minute rescue act (thanks to a missing fiancé), and that too finds an echo in Aditya Chopra’s Rab Ne Bana Di Jodi. (This title isn’t exactly new either, familiar to us from the Laxmikant-Pyarelal chartbuster in Suhaag).
The reason these old stories are endlessly recycled is that they work so well – their essence just needs to be distilled into a new bottle – and, for a while, it appears that Surinder, the mousy non-hero that Shah Rukh Khan plays here (like the mousy non-hero he played in Paheli), is going to be the lens through which this old story will acquire a new form. Surinder is as anonymous a resident of Amritsar as the people we see in the film’s opening – the vendor of fruit, the sweeper of streets, the seller of milk – and nothing about him stands out, except perhaps the sneakers that clash hilariously with his tailored trousers. Naturally, he knows nothing about women, and you sense his nervousness in their presence when he’s introduced to Taani (Anushka Sharma) and he begins to tug at his tucked-in shirt, adjusting a line that needs no adjustment.
Shah Rukh brings a real sweetness to Surinder. The fussy fidgeting is all there, but couched in an inordinate amount of self-effacement, it comes across less the actor’s quirks than the character’s. There’s a lovely scene where Surinder is about to leave his new bride and set off for work. (She’s still asleep; or so he thinks, as they do not yet share a bedroom.) He writes out his full name and telephone number, in case of an emergency, and leaves the piece of paper on the dining table. Then, after this most practical of actions, he’s stricken by a romantic fancy, and he lays a long-stemmed rose beside the note. He smiles, and you smile with him – but only for that instant, for soon after, he puts the rose back in its vase.
Not for him these overt declarations of passion – despite his undeniable passion for his wife. (When he first laid eyes on her, he felt both pleasure and pain, “Achcha bhi lag raha tha, aur dard bhi ho raha tha.” Several of Chopra’s lines cut straight to the bone, with minimal fuss.) Love, for Surinder, is simply the fact that Taani stopped sulking and made a cheerful appearance when his office colleagues dropped in for drinks and dinner, to celebrate his marriage. As he movingly confesses later, she didn’t embarrass him in front of them – and a love that encompasses more than this, he doesn’t know and he doesn’t need. Surinder, at this moment, could be speaking for millions of men in arranged marriages, to whom the concept of love isn’t so much an intoxicating drug as a comfortable armchair by the fireplace to return to at the end of the day.
Taani, however, wants more. (Anushka Sharma makes an impressive debut, investing the corniest of lines with sparks of genuine emotion.) When she reaches Amritsar, Surinder holds out a hand as she’s about to get off the train, but she ignores the gesture. She appears, at first, stubborn in her determination to feel sorry for herself. But very soon, she pulls herself together and decides to make the most of the situation. (In another beautiful line from Chopra, she reasons that it isn’t fair to direct her anger against God, or Rab in this case, towards poor Surinder.) All she wants is some time to kill her old self – the self that believed in love as an intoxicating drug – and become a new person. These early scenes are remarkably unhurried depictions of the adjustments people need to make when they get married – and not just with respect to the other person.
And then I don’t quite know what happened. It’s as if Chopra realised the movie he’s making isn’t quite the Shah Rukh Khan starrer the public wants to see – and Rab Ne Bana Di Jodi takes a sharp turn and heads rapidly south. Surinder doesn’t want Taani to become a new person, because he’s fallen for her older self. He wants the old Taani to love him back – and so he decides to become a new person. If this all sounds insanely convoluted, you have to see how it plays out. Out of nowhere, we’re deposited in Navrang territory, where Mahipal made the best of a perpetually unavailable wife by reimagining her as his terpsichorean muse (which, of course, is just another way of pointing out how love can sometimes make us look at people differently, not as how they are but how we want them to be).
Here, in a gender-bender twist, Surinder decides to double as (oh, you’ll never guess the name he adopts!) Raj, an obnoxious punk in tight jeans and tighter tees. Surinder may not be the man Taani wants, so instead of doing what a normal person would do – that is, either wait for Taani to make good on her decision to change, or change himself in little ways that will gradually endear him to her – he decides to pose as someone else altogether. Raj is Surinder’s Tyler Durden, a creature erupted from a wacked-out id, tapping all of Surinder’s coiled energy and unleashing it with near-nuclear intensity. At least, that appears to be Chopra’s conceit – and had his execution matched this conception, we might have had a memorably surreal love story.
Unfortunately, Raj is little more than a standard-issue Shah Rukh Khan character, and it’s awfully hard to see why Taani would begin to fall for this annoying man-brat instead of the sweet, patient adult back at home. (Raj is Taani’s partner in a dance competition – don’t ask! – and she conveniently omits to mention she’s married.) It isn’t often that a film hands over, on a platter, the essence of what’s going wrong with it, but Surinder’s BFF Bobby (Vinay Pathak, whose clothes possess more colour than his character) actually voices our concerns, wondering how Surinder could expect Taani to fall for him when he refuses to demonstrate his love, and when Raj does nothing but demonstrate his love.
There’s a very twisted kind of masochism at work here (or perhaps it’s sadism, viewed from the other end), and at times, Surinder appears a benign version of the aggressively psychotic lovers that were once Shah Rukh’s specialty. (It’s just that, here, instead of doggedly pursuing someone he loves and who doesn’t love him back, he invents a new persona to achieve these ends.) Raj begins to hog huge chunks of screen space, and by the time we return to Surinder, we’ve completely lost track of why we were rooting for him in the first place. Chopra hinted to us – via Salim-Sulaiman’s foot-tapping track, Haule haule – that Taani’s change of heart would occur slowly, but this development is pulled off so suddenly and with such a graceless invocation of the titular being that you wonder why Raj was brought into the picture at all.
It’s one thing to point to God – as Surinder does – just as we’re beginning to roll our eyes, when Taani doesn’t see that Raj is actually her uncool husband trying very hard be cool. The One Up There is scripting this story, we’re told, and we run along with this conceit. (If He wants Taani to see Surinder as Raj, who are we to argue?) But by the end, this higher power is (quite literally) reduced to a deux ex machina, a fatuous device brought in so we can finally haul our cramped butts off the seats and head home. It doesn’t help that, by this time, there’s very little energy in the film (yes, despite Surinder’s job at a power company), and even the final dance competition is as dull as something put up by a second-rate duo on Nach Baliye. (Perhaps Chopra spent all his resources staging the showstopper that doffs a loving hat to older generations of Hindi cinema.)
A bigger problem, though, is that we slowly begin to feel that neither Surinder nor Raj deserves Taani. In the film’s best scene – which, ironically, occurs just after the film’s worst, involving a bout of Sumo wresting – Taani tends to Surinder, who’s injured himself while attempting to do something nice for her. She pleads with him to stop trying so hard to make her happy, because she is happy, even if she isn’t always grinning like a maniac – and you can sense what a horrible situation she’s in. It would have made her decision easier if her husband had simply forced himself on her, but against such superhuman decency, she’s helpless – and you see how she’s struggling with a deadly cocktail of guilt and gratitude and fear (that she may never be able to return his favours and his kindnesses).
The scene should have rightfully ended there, but because this is a Shah Rukh Khan movie, he gets a nonsensical coda about his love for her, which is both redundant (because he’s already told us about his feelings, oh, about a few hundred times) and (in light of what’s just transpired) downright insensitive. This is her scene, her point of view, and we’re still being manipulated around to absorb his viewpoint. And you begin to wonder if Chopra is any different from the makers of olden-day love triangles, to whom heroines were simply ping-pong balls to be shuttled back and forth between the heroes. There’s a stretch where Taani turns into a domestic dervish – washing clothes, rinsing dishes, scrubbing floors – and you completely empathise with her, because if she didn’t find some way to work off her frustrations, she’d go mad, considering she isn’t getting an iota of assistance from the screenplay.
What keeps us watching, eventually, is the anticipation of the occasional moment of charm (watch out, especially, for the end credits, where Shah Rukh is delightful), and I must say I continue to be intrigued by what appears to be Yash Raj’s ongoing mission to neuter the Hindi film hero. When Surinder and Taani go to the movies, he’s the one who sobs through the typically teary dramas, while she prefers the full-on masala entertainers where one he-man can apparently take on an entire village. And speaking of action, this film’s equivalent of a fight sequence occurs when Taani is insulted – but instead of Raj galloping to her rescue, she hops on a motorbike and avenges herself. (He sits behind her, petrified, holding her purse.) In a subsequent scene, Bobby explains to a bewildered Surinder the meaning of the word “macho.” The only cut more unkind may be that, even without heels, the heroine towers over the hero.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Sougata Mitra
December 13, 2008
Very aptly put baradwaj. However the character of Surinder is so earnest and decent, that every time he draws you into the film. Although flawed this is still the best YRF movie in a long long time barring Chak De….Shah Rukh actually pauses to build a chaaracter rather than just play along with his generic mannerisms….and somehow I just can’t put the movie out of my mind
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B.H.Harsh
December 13, 2008
A very well put-up review there yet again. But I dont think the masses are liking it much, which is a sad thing for YRF as well as SRK (esp. considering SRK really did very well this time)
I really disliked the way Chopra chose to execute the transformation of Suri and Taani. And like you said, We have lost track by the time we have gone back to Surinder.
But I still feel The film was very endearing, and pretty mellow as compared to the usual romance dramas from the stable of YRF.
A Question for you, Rangan Sir… Where Do You Rank this performance by SRK in his all time bests ??
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masoomrooney
December 13, 2008
well for first time i wanted to watch a yashraj lovestory because of the surinder charactor as shown in promo but here to it seems they have made it typical raj/rahul(shahrukh himself!) kind of deal.
but again yashraj seems to have messed it up by bringing RAJ/RAHUL.
wish they had made movie with more of surinder
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karrvakarela
December 13, 2008
Hi Baradwaj,
You know, I went into this film with a certain amount of expectation and it completely disappointed me. It’s a terrible movie. I walked out at intermission but not before texting all my friends who were likely to watch the film not to come near it with a ten-foot gandaasa.
Really, for a film to be saturated with so much (visual) color and still be so pallid and uninteresting. Only Yash-Raj can do it. Awful awful movie.
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karbarak
December 13, 2008
Reminded moi of In the company on Men
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vania
December 13, 2008
how come you haven’t yet reviewed ‘oye lucky! lucky oye!’ Its the most exciting movie of the year, at the very least.
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brangan
December 13, 2008
Harsh: I don’t know about all-time-best lists, but I enjoyed his work in Swades, Chak De India, Kahbhi Haan Kabhi Naa, Raju Ban Gaya Gentleman, Dil Se, parts of Kal Ho Naa Ho…
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Pavitra
December 13, 2008
the surinder becoming raj part sounds a bit like..its been inspired by anniyan (ambi becoming remo)…
yenyway..i don intend to watch the movie..
what did u think of the music? its soo zzzzzz..predictable and never changes!
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Anita Raj
December 13, 2008
Hello Mr. Rangan,
I hope there were no facial ticks this time around in Shahrukh’s acting, unlike in Chak De India, a performance that you now say like!
Anyway
Regards
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brangan
December 14, 2008
Pavitra: Haule Haule was a sweet track — predictable, yes, but still sweet. Dance pe chance worked on screen. But the medley track was a disaster. I have never heard Sonu Nigam sound so bad of late.
Anita Raj: “facial ticks?” No, I’m sorry, I do not track the presence of parasitic organisms on leading men, though you may want to read my review of CDI again if you got that impression.
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Ramya
December 14, 2008
I really enjoyed the beginning…..till Raj made his appearance. Their hesitation when around each other was so endearing…..the way she sits on his scooter, his scene with the flower at breakfast. After Raj came into the picture, I was vacillating between irritation whenever the Raj character turned up, and hoping that we get to see more of the Surinder – Taani story develop. Such a disappointment how they conveniently ended it, leveraging the title and all!
And terpsichorean!!
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Vivek
December 14, 2008
The worst thing about this movie was that it could have been so much more better. At the end of the first 30 minutes or so, I was actually rooting for Surinder. At the end of the first hour though I was rooting for an intermission.
I spent the rest of the movie reading up reviews of the movie on my Blackberry. Never done that in a movie hall actually. I personally thought Anushka was pretty good given how unevenly written her character was.
And Surinder somehow increasingly turned from a likeable loser to a passive aggressive, obsessive jerk towards the end.
No comments on the supreme regressiveness which I am sure has a lot of feminists up in arms
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Vineet
December 14, 2008
Hello Mr. Baradwaj,
The essence of Rab Ne…, if you were to ask me, is that although we are ready to change ourselves, from ala meek Suri to a paranoid Raj, for our beloved one, but deep in the heart, we want to be loved as we are. Maybe that is why Suri went about being his normal self and left the antics to Raj. I believe that if a introvert had to create a alter ego, he would make it dramatically opposite then his true self, like Suri made a Raj. Raj could do anything, what Suri thought would win Taani’s love, but which his endearing decency couldn’t allow him to do.
Agreed that Raj was a bit over the top, but I think if one puts the abovementioned perspective, maybe one can understand Raj/Suri better.
Regards.
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oops
December 14, 2008
Hey Brangan, you tell everything in your review !! I’ll catch the movie very soon
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Footydoc
December 14, 2008
A quaint film spoilt by the regressive subtext. Despite the inconsistencies in the film, I was happy to give it the benefit of doubt, until “Suri” began mouthing dialogues such as “Taani has to prove her love for Suri, not Raj”. What regressive tosh!!
This is year 2008, and the guy Surinder now knows the kind of person his wife, Taani, likes, and is prepared to morph into “Raj” to win her love, but is then sadistic enough to lead her on. If he is not prepared to make small changes to his personality, then what right does he have to expect her to change completely to accept him for all his foibles? Is that not intense selfishness on his part? And once his repressed boisterousness has been unleashed, how, and indeed why, does he subjugate that part of his personality to once again assume his mousy persona that his wife is not enamoured by?
And finally, fie on Aditya Chopra, Taani is expected to prove her “purity” and “love” for Suri by putting her through a test!! A complete throwback to the days of the Ramayana, where Sita is constantly expected to prove her chastity for no fault of hers. How regressive can YashRaj get? The exploited and conned individual in the film was the wife, Taani, whose emotions were strung along. She had every right to deck Suri/Raj one, once she realised how she had been emotionally manipulated. Yet despite showing her as a strong independent minded woman all through, she is suddenly portrayed as a simpering doormat!
Ultimately a tame film, redeemed by Shahrukh Khan’s quaint portrayal of everyday man, surinder Sahni. However with so few characters in the film, with a short story sketch stretched into a 3 hour film, it was a bit of a drag in the end.
And oh yes, if “Rab” was in the business of making “jodi”s in such a pat fashion, why the heck could Suri and Taani not have visited the Golden Temple well before the last reel just for her to realise what a good man she was married to, and Raj be damned.
The Rajshri Productions are often accused of sticking on to a regressive portrayal of women and Indian society. But Aditya Chopra takes the cake with this one.
Can the real Adi Chopra – the man who made that colossus “Dilwale Dulhaniya Le Jayenge” – please come back!!
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B.H.Harsh
December 14, 2008
@Rangan sir
Do you think SRK dramaticized his emotions in “Rab ne… ” too, like he does in other romantic sobby stuff … ??
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sakthi
December 14, 2008
wonderfully written…
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s
December 14, 2008
the story line might not be great, athakaga why do you have to put-put vechify the storyline in your review?
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brangan
December 14, 2008
Ramya: “I really enjoyed the beginning” Me too. About a third of the film was quite lovely, which is why the final film is a bit frustrating. Unlike Mohabbatein, which was unbearable right through.
Vivek: “I spent the rest of the movie reading up reviews of the movie on my Blackberry.” Okay, remind me never to sit next to you in a movie theatre 🙂
Vineet: “I believe that if a introvert had to create a alter ego, he would make it dramatically opposite then his true self” Oh absolutely. The reasoning was completely sound, which is why I used the Tyler Durden analogy. I just didn’t care the *way* it was done.
oops/s: Really? I looked over it again, and there didn’t seem to be anything specifically spoilerific… Don’t I always discuss specific scenes in my longer reviews?
Footydoc: I wanted to bring in that agnipariksha bit in my review, but the deadline loomed and I had to run 🙂 But absolutely. On a related note, I haven’t seen DDLJ in a many years. I’d be curious to see if it still stands up.
And in general, I finally caught up with other reviews, and am quite surprised that the whole one-man-pretending-to-be-another-by-sticking-on-a-moustache was such a major dealbreaker. For one thing, this is a device that’s been kicked around from the time of Shakespeare, and it’s just a nominal suspension of disbelief (in the sense that there’s no need to take this SO literally). But more importantly, there is a scene that explicitly addresses this, when Vinay Pathak and SRK discuss how the latter managed to escape unrecognised. That’s when he brings up the whole “Rab has written this story” concept. I guess this didn’t work for many people, but it’s just a romantic conceit and I didn’t have a problem with it at all.
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Blogeswari
December 14, 2008
It’s at best an hour’s film. They izhutufyed it for two hours forty five minutes – Torture!
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Pradyumna M
December 14, 2008
For some reason I have never liked DDLJ and I seriously dunno what the fuss about the movie is all about :d
Btw,Anyone noticed that when Taani and Raj meet for the first time and He says : ” Raj,Naam toh suna hoga!” And She replies in the negative and he replies by saying “Hum hain rahi pyaar ke,Phir milenge,Chalte Chalte.” Which incidentally stars Aamir,Salman And Srk himself.. Wonder if they wanted to convey to “someone” who the actual “Raj” of bollywood is/are! 😀
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Anand
December 14, 2008
BR: I enjoyed some nuances in writing.
The one which you have pointed out – Suri picking up a rose and then leaving it back in the vase. A subtle hint that he is indeed a romantic inside.
Suri asking Taani to keep the window closed during the rain, when she actually prefers keeping it open so that she could enjoy it. Footydoc has said about the ‘Ramayana regressive tosh’, but I think it has got nothing to do with Yash Raj regressive style. This scene which he talks about and the window scene jst establishes that Suri has ‘Indian Men mentality'(as Suri puts it in the end credits!)I think it is well written to emphasise that Suri is imperfect. (Just like Mani did in Mouna Ragam when CK shouts as Divya when she disturbs him while doing office work).
Another aspect to emphasise that Suri is imperfect – he asks Taani if Raj is married.
Had only Aditya kept an eye on the ‘bigger picture’, instead of leaving it to Rab, this would have been an enjoyable experience. Alas!
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Raj Balakrishnan
December 14, 2008
That was a very well written review Braradwaj (as usual. Just curious, which school did you study?). As many have already pointed out, the makers have taken a sub-plot from Aaja Nach Le and have made it into a full blown movie. I was planning to skip this movie but after reading your review want to watch it now. On the topic of SRK; was watching the TV series ‘Friends’ recently (again) and noticed that Mathew Perry (Chandler) reminded me a lot of SRK. So that is where SRK stole his ‘five expressions/mannerisms’ from. What was even more startling was that the ‘great’ Kamal Hassan has actually borrowed a lot from the
David Schwimmer (Ross Geller) school of acting.Did not expect this from Kamal Hassan.
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Gaurav Agrawal
December 14, 2008
BR,
You missed oye lucky and had to watch rab ne 🙂
Though i have not seen rab ne but that is what I call bad luck.
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Anand
December 14, 2008
I also felt that SRK’s performance was top-notch. Look at Raj smiling the Suri smile, when Taani holds on to his shoulders for the first time while riding the bike!
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oops
December 14, 2008
it’s true rangan but i prefer to read it after i’ve seen the film because a very detailed review can influenced my thoughts (and give some detail that i wasn’t aware of)
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Murali
December 14, 2008
Interesting that no one caught these two
1. Manaivi Ready was by Partheepan and Pandiyarajan
2. The husband – wife scene where co-workers from SRK’s office is straight out of Mouna Raagam as explained in this review.
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Murali
December 14, 2008
//1. Manaivi Ready was by Partheepan and Pandiyarajan//
Oops should read as
1. Manaivi Ready was by Partheepan and not Pandiyarajan
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oops
December 14, 2008
ok finally i read it (oops curiosity). Good review, It’s amazing how a director can mess up a real good idea just for greed. Once again, Yashraj seems to loose the connexion with people needs cause the audience seems to love Surinder a lot ! Surprising for a guy like Adi who succeeded with DDLJ and caught the trend really well the first time.
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Priti
December 14, 2008
Am afraid you do put-put vechufy. But for those of us who read the last few pages of a book first and/or look forward to your reviews more than the movies themselves, its quite ok. 😀
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Jabberwock
December 14, 2008
And then I don’t quite know what happened. It’s as if Chopra realised the movie he’s making isn’t quite the Shah Rukh Khan starrer the public wants to see – and Rab Ne Bana Di Jodi takes a sharp turn and heads rapidly south.
Well put. At the point where the rose-stem scene happened, I really thought the film could have headed in a completely different direction.
And dude, we’ve both done the
“God as deus ex machina” thing. Great minds etc…
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Tejas
December 14, 2008
Do you intend to write about Zhang Yimou films in the Part of the Picture series any time soon? Believe me..those features tend to be more interesting than these reviews – mainly because of the quality of what’s being discussed.
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anush
December 14, 2008
Was waiting for ur review since i watched the movie Friday night . Brilliantly summed up as usual sir !
any Chopra , Karan Johar movie revolves around one and only one thing – SRK
this was no different , this was a movie for his fan base , the very reasons why we hate this movie ( i totally agree with ur views on the movie ) make it endearing to his fanbase , i think
The character of Suri was endearing at first and kept u hooked , even Raj was ok initially .. but post intermission it went for a toss …
I also felt like some what people felt in comments above tht this moviemaker is still in 80s-90s , where whatever hero does is justified
Its disappointing tht Aditya Chopra squandered a good plot and made an ordinary love story
Still the movie will be a hit at BO for the same reasons we hate it , in the multiplex in Mumbai where i saw the movie , a lot of people clapped in the end and me and a friend were like WTF !
But gals in my gang loved it and some want to come back n watch it again
Ekta Kapoor with daily soaps and Chopra-Karan Johar with their movies fall in same category i guess in terms of target audience
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brangan
December 14, 2008
Pradyumna M: I too liked it but wasn’t crazy about it. One of my major grouses was that, for a romantic film, it had such a weak score. And this, when J-L were doing some really nice work.
Murali: I don’t think so. Parthiban’s first film was Pudhiya Paadhai, and that was much after Manaivi Ready. Are you talking about the same film which had “Saan pillai aanaalum”?
Priti: I guess when you want to go into detail, it’s inevitable that a few spoilers creep in. But I hope it’s not to an extent that kills the film-viewing experience.
Jabberwock: I know. Great minds. But it was just begging to be said, no? 🙂
Tejas: I did write about Raise the Red Lantern.
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B.H.Harsh
December 14, 2008
Very conviniently ignored my Q, sir…. 😦
I hope there was nothing offensive in it, was there ??
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brangan
December 14, 2008
Harsh: I did list the SRK perfs I liked. Where’s the offensive part here?
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Vijay
December 14, 2008
The reference to an obscure Manaivi Ready very much reveals the decade that dominates your nostalgia. Other than die-hard movie buffs who grew up watching bad movies from the 80s, no one else would remember much about a lame-ass Pandiarajan movie like this one 🙂
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B.H.Harsh
December 14, 2008
Rangan sir :
I asked something later also, I think its comment no. 16. Please do check… 🙂
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raj
December 14, 2008
* Glad to know that now promising hindi scripts are being sacrificed at the altar of superstars
* Manaivi ready was indeedy by Pandiarajan – the parthiban one is actually Pondatti Thevai, which as one can surmise from both the titles catch a man in significantly different stages in his life
(and at this point, BR is allowed to exclaim – you remember a parthiban movie called pondatti thevai and you mouth off like that on Hindi movies?:-) )
* Aditya Chopra’s regressive mind was well in display in his second film, if not the first – no point slamming him now. But the guy who made Chalte Chalte should take the cake – or maybe it is just Shahrukh Khan – at this point expect him to launch a monologue on how “respects Indian traditions and is a middle-class values boy at heart”.
*DDLJ – ordinary film. Even more ordinary score. The Hindi equivalent of Karagattakaran – but the latter atleast had a fabulous score
* BR, would you be laying your hands on Slumdog Millioniare soon? I mean, will you be forced to review the latest Rajpal Yadav starrer, instead? Atleast, the fact that ARR got that nomination is exciting enough for me.
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Shankar
December 14, 2008
Oh, I remember Manaivi Ready. It came right after Aan Paavam. Since Aan Paavam was such a huge hit, there were quite some expectations from Pandiyarajan at that time. I recall MR didn’t fare as well at the BO though. I also remember that in the film, Pandiyarajan is a school student (uniform etc) when he gets married due to circumstances.
Vijay, you are right…it’s the decade in which we grew up…and it is nostalgic 🙂
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brangan
December 14, 2008
Harsh: Oh, that’s too involved to get into now, because he IS meant to be playing a very OTT character — as opposed to the characters that were “normal” but SRK still played as OTT.
Shankar: Yup. There was a lot of buzz around it. I still remember the very clever poster. The heroine in the form of Durga, standing on a hapless Pandiyarajan, and her numerous arms hold kitchen implements (like aruvaamanai) instead of weapons. Okay, let’s see if you remember her (a) real name and (b) the name she was given in the film. No googling 🙂
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B.H.Harsh
December 14, 2008
@Rangan sir :
Alright. But i cant believe u think DDLJ had an ordinary sound-track.. :O
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B.H.Harsh
December 14, 2008
@Rangan sir
Also, I noticed Many reviewers found the Self-referencing (Dhoom, DDLJ, Dil to Pagal Hai et al) very annoying.
I wanted to ask, Is Self-referencing really that bad, considering the idea behind it is just to create a moment of Nostalgic Fun ??
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Rahul
December 14, 2008
Add “Palghat Madhavan” in the list of “inspired by” movies,of which “Woh 7 din” was the remake.
“Zakhm” was the remake of Mounaragam.
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brangan
December 14, 2008
Rahul: No, the remake of MR was Kasak
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Rahul
December 14, 2008
BR I was talking about this movie
http://www.imdb.com/title/tt0364134/
Btw Radha Kalyanam is the movie and Palghat Madhavan was the character which became Prem Pratap Patiyalewale.
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Shilpa
December 14, 2008
Mr. B Rangan,
Have you written down the praises for Abhishek Bachchan in Mani’s next and Mehra’s Dilli 6 or will you do it later?
Thanks in advance for the reply!
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Rahul
December 15, 2008
p.s. I think you are right on this one.My memory tells me Zakhm but Kasak obviously is the remake.Its highly improbable that Chunky and Neelam would have acted in two remakes of the same movie.
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Shankar
December 15, 2008
Baddy, I believe it was Debashree Roy…though I have no clue what her screen name (or her name given for tamil cinema) was. She was the same person who acted with Sandeep Patil and Kirmani in “Kabhi Ajnabi Thi”…and a host of Bengali movies.
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bart
December 15, 2008
I liked the first third and couldn’t digest he could transition between the two roles so easily (especially speaking flambuoyantly in one and subdued – almost muted in another) in the second third while got on with the movie in the third third and came out feeling ok / good 🙂
I could see lots of support and claps at the end (?!). Overall, could’ve been a better movie though it is watchable now.
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brangan
December 15, 2008
Shankar: kuruvi-yaa kokkaa? 🙂 Bingo. Screen name, Chintamani.
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Ashi
December 15, 2008
Sorry, this comment isn’t related to this movie, but could you please review “Oye Lucky, Lucky Oye”? If you have, i’m not able to find it. Really would like to hear your take on it as I have read conflicting reviews of it
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B.H.Harsh
December 15, 2008
@Rangan sir
Dunno sir whether its intentional or otherwise, but 2 more of my comments got ignored. I hope I havent pissed u off already. 🙂
Anyways, great review. And me too waiting to read your take on Oye Lucky Lucky Oye. 🙂
Regards
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Prashanth
December 16, 2008
Plzz review Oye Lucky Lucky Oye.. I have this habit of reading ur reviews after watching the movie.
I just watched Oye Lucky Lucky Oye and it was such a delightful movie. Cant believe we’ve got such an amazing dark comedy coming out of bollywood.
Plz review it Rangan sir!!
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Shankar
December 16, 2008
Baddy, I would have never guessed Chintamani!! 🙂
Couple of films I caught up with, over the weekend :
Chak De – Despite all the cliches, I did like the film. I also thought SRK did a good job. I wouldn’t rank his performance as high as “Swades” on my list, but it was quite good. To me, it does tell that when he tones it down a little and underplays the role, he is capable of good performances.
Saroja – It was okay. There were plenty of nice touches, however I saw the Jayaram twist a mile away and the reasoning behind it was not convincing at all. The songs also marred the story progression.
I also went through the umpteenth re-run of “Dum Dum Dum”. There are several movies that I like to watch periodically since, to me, many things jell well in it and I enjoy watching it again. Some of them are “Kandukondain Kandukondain” (the Mamootty parts), “The American President” (Michael Douglas’s superb portrayal of a President), “A few good men” (the drama), Agni, Vikram etc. Anyways, coming back to DDD, Azhagam Perumal deserves another chance to make a film…so does Karthik Raja. 🙂
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Lakshmi
December 16, 2008
Did you review ‘Oye Lucky, Lucky Oye’ or did I miss it? A delightful film… I think you’ll like it!
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Ritu Chandra
December 17, 2008
“which, of course, is just another way of pointing out how love can sometimes make us look at people differently, not as how they are but how we want them to be)”
This is just the stuff that makes your reviews a notch above th rest. There is so much more than a mere review. I am yet to see the film, though knowing how much lower my tolerance levels are, I am likely to curse it :).
Cheers
Ritu
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Ritu Chandra
December 17, 2008
P.S Baradwaj, harking back to the old days of discussion on RAMLI, I wanted to bring to your notice a 3 piece series I had done on GD for his death anniversary this October. Would welcome your opinions on the issues discussed there.
After writing it, my first realization was how much of an influence it had of your style! So then it becomes even more imperative that I get your comments :).
Cheers
Ritu
P.S I forget, the link here it is. Follow the connecting links to part2 and part3 from there
http://rituswanderlust.blogspot.com/2008/10/guru-dutt-genius.html
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Mithun
December 17, 2008
Please review Oye Lucky, Lucky Oye…
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brangan
December 17, 2008
Ritu: Thanks. I’ll take a look. God, RAMLI… seems like a lifetime ago 🙂
Mithun and others: It’s out of theatres here and I have no way of catching it now.
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Anand
December 17, 2008
BR: Catch OLLO in Tata Sky Showcase from this friday onwards! It is a movie worth watching. How many times are we able to say that the second movie of a director-who-made-a-great-first-film is better than his first?
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Anna Bond
December 18, 2008
Well written & beautifully articulated! I felt the exact same way throughout, but am a little too lazy (and a little less talented!) to detail it like you have 🙂
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visawlap
December 18, 2008
Mr. Rangan,
I thoroughly enjoy reading your reviews, and realise that my thoughts/ feelings about a movie have coincided with yours quite a few times. I find your reiews a pretty good barometer.
Footydoc (comment #15) – I totally agree with you on the regressive sub-text. But that is what existed even in DDLJ, as much of a superhit the movie was.
I appreciate SRK’s character’s desire to win the father over – weddings ideally are between 2 families. What got me irritated was the climax.
Here, the hero knows that the his beloved’s fiance is a misogynist, who will not think twice about ogling at other women, or raising his hand on her. And he STILL wants to put the father’s feelings first, and let her stay behind in what would be a hellish marriage! The wishes of the women (heroine, her mom) are clearly secondary to those of the men!! And this was supposed to be a fresh take on love…..
Sorry to digress from Rab.., but praise for DDLJ kind of gets my hackles up 🙂
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Rk
December 20, 2008
Sirr…Sorry bhai review please…I thoroughly enjoyed it…wish you could write and put to words the wonderful emotional conflicts..
i tried to put down few words..
Also wish you could do a Ghajini music review…among AR’s 5 bollywood movies this year, can you give a rating of your choice ? for me, jaane tu stands on top, followed by ghajini..
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Anuradha
December 23, 2008
Hi .. glad to see this review that speaks of the movie as it is, and does not praise/criticise because it happens to be from the Yash Raj banner! 🙂
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Santhosh Kottayi
December 27, 2008
Good review – except the heading that “romance that’s disappointing”.
I fully enjoyed the movie and got the same feeling with the total crowd for that show! Each and every scene was able to give a soothing effect to our emotions. Anushka Sharma made a huge impact in her first movie itself. Full credit to the director and photographer, she was made cute and innocent by not only her character, but in each and every shot – by the costumes and the accessories..! And for SRK it was a feast..what a performance. I think only he will have the courage to come out with such a moron character! I really enjoyed his ‘totally controlled’ performance…no over acting at all, which other wise is the typical trade mark of SRK!
Sweet melodies,wonderful photography, poetic script, beautiful locations, amazing direction, great performance by the hero and the heroine…what else you want in a movie!
Cheers,
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dhruv
January 9, 2009
do u think srk is a better actor than aamir
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suman
April 20, 2009
sorry for late reply.I’m telugu people and just now i saw this film,and get interested to browse for that movie still(the still and last dance competition is superb.
Some people here said that,film is not good.If i found,I kill them immediately.
Really, i can’t put it away from my mind and I have to see how far it will in my mind.
Ok, finally congratulations to both sharukh and chopra.
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