MORE AMORE…
Boy and Girl crisscross continents in search of a happy ending in an inoffensive, though unremarkable, love story.
NOV 28, 2010 – ONCE UPON A TIME IN HINDI CINEMA, the mere circumstance of the hero and heroine bearing the names Abhay Gulati (Imran Khan) and Aaliya Khan (Deepika Padukone) would be a reasonable indicator of where their love story was headed. Even if they weren’t from opposite sides of the tracks, the religious divide would impel the tale to an incendiary climax. But in today’s romances, like Danish Aslam’s Break Ke Baad, no one seems to care about rich or poor (or more precisely, no one seems to be poor; like the protagonist of Aisha, this couple too cavorts in a Beetle, which appears to have become all the rage among well-heeled Delhi-ites). Parents are barely a presence, and only a tad more relevant to the proceedings than God. (The fact that Aaliya’s last name is Khan is addressed as an afterthought.) And without these external agents planting hurdles along the path of true love, young lovers – these days – are left with little option but to set up their own stumbling blocks.
Thus, Aaliya rejects Abhay, her best friend-turned-cheerleader-turned-boyfriend who has been saving her from herself right from the inventive credits sequence (where the names appear not on screen but inside the lives of the characters). Both Aaliya and Abhay are mad about the movies, and their relationship begins during a childhood screening of Mr. India, progresses through in-school reenactments of song sequences from Tezaab and Jo Jeeta Wohi Sikandar, and a few years later, they seal their love with a kiss while holed up in a projection booth watching Shah Rukh Khan and Kajol embark on a similar trajectory from friends to lovers in Kuch Kuch Hota Hai. Aaliya tells Abhay that any girl would be lucky to get his love – but that girl is not her. Like the free-spirited, commitment-leery Justine in The Thorn Birds, Aaliya is an aspiring actress whose insecurities seem to spring from her fatherless family.
But the more significant reason for her abandoning her significant other is the film’s mantra that it’s necessary to follow one’s heart – not just in the romantic sense, but also in pursuing one’s passions. And for that, you may need to surround yourself with some space, a philosophy echoed in the song Dooriyaan hai zaroori. At first, Abhay does what he’s always done with Aaliya – he regards her rejection of him with the patience of a saint and the persistence of a pit bull. By simply hanging around, he feels he will ride out the rough patch. But later, he understands why she needed to do what she did. He confesses that he was insecure and he made her choose between her dream of becoming an actress and his dream of settling down with her. And because he’s now freed from a relationship and free to find himself, he discovers that he’s happiest being a chef. The director likes to use split screens to denote the couple’s split personalities, and had this been old-Bollywood, we could be watching two movies for the price of one – Abhinetri and Bawarchi.
Some time after Aaliya breaks up with Abhay, he attempts to define his relationship status on Facebook, by toggling between “In a relationship” and “It’s complicated.” And his confusion reminded me that some of the most interesting work in Bollywood, these days, is happening in love stories. Some of them, like Love Aaj Kal, are successful both in artistic terms as well as audience-acceptance terms. Others, like Anjaana Anjaani, come up short on both counts. But even at their worst, they offer a glimpse at the gestation pains the Bollywood romance is going through in trying to deliver a multiplex-friendly heart-warmer with the sprightliness of the Hollywood rom-com and the sentimentality of the great Indian romantic melodrama. (We might name this hybrid genre a rom-tragicom.) For the first time on our screens, we are seeing love stories that dare us to care about people who do not care about anyone but themselves.
The problem, unfortunately, is that this development sounds better in theory than it usually looks in practice. Break Ke Baad isn’t bad – it’s what you’d term “inoffensive” – and it’s livened by plenty of snappy lines (mouthed mainly by Lillete Dubey, as a thrice-divorced woman of a certain age, now wise in the ways of love) and grace notes (like the scene where Aaliya and Abhay have a heated argument in the men’s loo and, after they leave, faces peek out cautiously from the stalls). The film has a pleasingly lazy rhythm, and it continues the light-hearted emasculation of the Bollywood hero, who – at different points – is referred to as “Sunita” and “aunty.” But the story never really catches fire, and it never makes you invest enough emotion in the continent-hopping lovers – painted as opposites, in typical rom-com colours – ending up together. The hurdles that they plant on their way to happiness appear molehills, not mountains.
At least part of the problem lies with Deepika Padukone, who appears to have been cast for her hotness as a pin-up model rather than her ability to radiate inner fire. (Imran Khan, though, is thoroughly charming in a role pitched completely in his comfort zone.) While it’s a relief that the drama-queen tendencies of Aaliya aren’t exaggerated to the extent that the character needed to be played by Kangana Ranaut, there’s a distinct disconnect between who she says she is and who we seem to be seeing. For a supposed smoker, she barely touches a cigarette. For a supposed actress, we rarely see her perform on stage or screen. For a supposed embodiment of ambition, she gives up her dreams a little too easily. Agreed, this is a rom-com (or rom-tragicom) and not a drama, but Nadia (Shahana Goswami, as a glorified extra) shows more substance in a single line reading than Aaliya ever does. The victim of a bitter break-up, Nadia nudges along the Aaliya-Abhay relationship and remarks, “Someone should have a happy ending.” Here’s a candidate for a character if Bollywood is going to continue showing us love stories about unlovable people.
Copyright ©2010 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
sheksshake
November 28, 2010
review of nandalala?
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bran1gan
November 28, 2010
sheksshake: Not doing a review. Malini Mannath reviewed it for the paper. And I had a brief talk with Mysskin about the film.
BTW, if anyone in Chennai is interested in doing an interview in Tamil (and possibly translating it to English later), do get in touch with me. It’s a paying assignment.
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rameshram
November 28, 2010
You want that done in LA ill volunteer.
I can use the money.
(Seriously ! N s krishnan’s dependents are here.)
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GR
November 28, 2010
The film was inoffensive but unremarkable like you said, but I actually thought Deepika Padukone did a better job with the material given to her than Imran Khan. He does have this laidback charm that he uses quite well at times, but as the film goes it goes from laidback charm to just dullness. Deepika’s Aaliya on the other hand is the reason the film didn’t feel like a complete loss to me. I felt there was enough verve in how she played Aaliya that I didn’t miss any of the things you mentioned at the end of the review – the smoking, the lack of scenes on screen and on stage etc.
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complicateur
November 28, 2010
Hey Baradwaj,
I would’ve totally jumped on that interview request if I was in town! 😦
In other news, the second in my series on Malayalam cinema of the 80’s series is out in today’s paper. The link to the epaper is here: http://bit.ly/g0Cehy
It’s also up for reading on my blog: http://complicateur.blogspot.com/2010/11/golden-age-2.html
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Rakesh
November 28, 2010
I was surprised by the almost Superstar like “Intro scene” for Deepika Padukone with puffs of Cigar smoke and rock music in the background…
Imran’s Sunita moniker was probably taken a bit too seriously while sketching his character arc… including his cooking skills..
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krackpot
November 28, 2010
People asking Nandala review and you keep pointing to an article where you refused to discuss the movie, was it so bad that you don’t want to review it?
KP
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bran1gan
November 29, 2010
krackpot: Not at all. I just haven’t been writing much of late, other than the weekly Hindi reviews, and I’m not going to be writing about this film either. However, I did a smallish piece on Mynaa (though not about the movie specifically) and that will be published this weekend.
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vijay
November 29, 2010
“BTW, if anyone in Chennai is interested in doing an interview in Tamil (and possibly translating it to English later), do get in touch with me. It’s a paying assignment.
”
Just curious, why couldnt you do it yourself? and who is the person being interviewed?(reason is, there are some people whom you would’nt like interviewing even if you are paid to do it 🙂 )
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vijay
November 29, 2010
From Mannath’s review:
It is understandable if a filmmaker has been inspired by the work of another, and has used it as a reference for his film. But replicating not just the concept, but almost the entire graph of the plot and narration without giving due credit to the original is blatant plagiarism.
It’s not just an embarrassment to the maker, but to the viewer too. But some makers probably go by the maxim that imitation is the best form of flattery!
—————————
BR, here is a different kind of paid assignment idea. The next time you meet directors like Mysskin, tell them that they can hold an audition for story script ideas(not more than couple of pages) from cinephiles, fans and the like. The best idea that gets converted into a full blown screenplay gets paid a modest sum. This should work atleast for thrillers.Especially Bollywood can certainly use this. They claim that they sometimes spend 2 months holding auditions to get the right kind of actor for a movie, but they dont want to spend more than 2 hrs to get the plotline(off of a DVD)
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bran1gan
November 29, 2010
vijay: Just the time factor, that’s all. I can write Tamil pretty fast on paper, but using the MS-Word font slows me down considerably. Ultra painful, especially considering I’m a two-finger typist.
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apala
November 30, 2010
Dear BR,
I thought “Neela vAnam, nEyum nAnum” from Man(nar)-Madhan-Ambu was the best from Mr. DSP till date!
Lyricist Kamal did not disappoint me – in fact, surprised me in “who’s the hero”? (hero build-up song!!!).
Any thoughts?!!!
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complicateur
November 30, 2010
You could really write thamizh fast on paper? I cant seem to write anything fast anymore. Other than math and calculations!
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bran1gan
November 30, 2010
apala: Not heard the songs yet.
complicateur: Oh I write very fast on paper. You should see me scribbling away during the intervals of movies 🙂 But my handwriting’s gone for a toss. One reason is obviously because we don’t write that much anymore, and certainly not with heavy, well-balanced fountain pens that aid penmanship. But I also think the fingers try to approximate the speed of typing, so you don’t write patiently anymore.
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Padawan
November 30, 2010
I second complicateur. However, for me writing Tamizh is very very difficult as it has been eons since I have written. The last I wrote tamizh was when I was studying in Salem (my 3rd and 4th) and they had this very nice concept that all students should learn Tamizh, Sanskrit and Hindi until 9th standard.
Baradwaj: At least, you would not be accused by directors Seeman and Ram (of Katradhu Tamizh notoriety! yes, you heard me write not fame, but notoriety) on that account of neglecting the mother tongue!
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bran1gan
November 30, 2010
Padawan: But I am neglecting it, no? Bread and butter being Peter and all 🙂
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raj
November 30, 2010
Yes, yes. Seemanukku oru special manu anupichurukkEn – ivaru romba peteru vidaRAru oru auto anuppunga Besant Nagarukkunnu 🙂
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vijay
November 30, 2010
“Ultra painful, especially considering I’m a two-finger typist.
”
And I thought I was the only one out there for a while. Good to know that there is company, especially from a present day writer 🙂
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bran1gan
November 30, 2010
raj: auto illa… “thaani.” manu-na correct-a ezhudhanum 🙂
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Padawan
November 30, 2010
Baradwaj: Should it not read as auto illa… “thaani.” manu-na sariyagaa ezhudhanum 🙂
And there ends a very productive Tuesday at office.
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anon
December 1, 2010
Brangan, seen this? http://openthemagazine.com/article/art-culture/review-of-reviewers What’s your take?
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Amrita
December 1, 2010
“Inoffensive though unremarkable” is right. I’m too lazy to check but I bet you’ve used that line more than a couple of times to describe movies from the Ranbir-Imran duo. I seem to remember it anyway. It’s like they’re consciously trying to make movies these days that will generate the least reaction. Oh well, at least they’re cute?
And again, like Wake up Sid and JTYJN etc, the parent-child relationship is much more interesting than the obligatory romance. I really, really wanted to know more about Aaliya and Ayesha, for eg. I’d love to see one of these guys try their hand at something like Udaan because I bet they’d be great at it.
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bran1gan
December 1, 2010
anon: Reg. “Others rubbish critics, pointing out how audiences are rushing to watch their films despite bad reviews.” I wonder when the day will come when people realise that criticism is best seen as (and served by) analysis and not recommendation. There has never been much correlation between reviews and box-office.
Amrita: LOL! I remember that in some review I actually recycled an entire para with the logic that if they’re making the same movies, I should be allowed to pass off the same reviews 🙂
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Senthil
December 1, 2010
BR , What do you think of the Manmadhan Ambu songs, especially the ‘Lyrics by Kamal Haasan’ bit ? I was thrilled to get a peek at Thalaivar’s streams of consciousness in all of the songs, as opposed to one or two songs in an album in the past.
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rameshram
December 1, 2010
One of these days ill make deepika padukone an offer she can’t refuse.
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Padawan
December 1, 2010
Ah, those lovely old days when you used to write so beautifully!
From Laaga Chunari Mein Daag
Now, if youâre going to dish out the old suspension-of-disbelief rejoinder, that our cinema has never really sought to emulate kitchen-sink realism, allow me to reproduce what I wrote about Ta Ra Rum Pum, this yearâs other Yash Raj movie starring Rani Mukerji. (Hey, if they are going to recycle their heroines and their moviemaking strategies, why shouldn’t I recycle my reviews?)
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kanishk
December 2, 2010
Rangan – Is there a year-ender piece on the anvil from your stables??
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Pradyumna M
December 2, 2010
Check this interview,Nolan explains the exposition in Inception :
http://www.wired.com/magazine/2010/11/pl_inception_nolan/all/1
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bran1gan
December 2, 2010
Senthil: Not heard it yet.
Padawan: Should I be flattered or slighly scared that you seem to remember my writing better than I do? And “used to write so beautifully?” 🙂
kanishk: Boss, December’s just begun. Not thinking that far ahead.
Pradyumna M: There’s “exposition” needed for this film? 😉
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Padawan
December 2, 2010
Baradwaj: Yes, sir. You “used” to write so beautifully. I am not a big fan of your current day writing, it appears to me that you are taking yourself too seriously.
Earlier, reading your passages was like catching up with a good old friend over a long drinking session and talking. It was fun. Did we write the next thesis on NP Complete problems? No. But it was casual talk about nothings!
However, now, your writing appears labored. More importantly for the reader in me, reading your passages is no longer fun.
I rewrite what you wrote in Madras Male passage – You have made your choice and I have made my peace with your writing. But given a choice, I would love the “old” Baradwaj!
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Pradyumna M
December 3, 2010
Good one! 🙂 And I too has Kanishk’s question on my mind. 😛
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KPV balaji
December 3, 2010
@BR : fine that you are not gonna write about nandhalala, but suprisingly you have been tight lipped about what you really thought of the movie, u would atleast say whether and why a movie worked or not atleast in comments section for movies that you dont review. So ?? It would be a sin if you dont say anything about IRs re recording in the movie :), for me it took the movie to completely differnt level. It was pure bliss. Though movie itself was good with those quirky random characters ( nasser and the bikers in specific). Mysykhin as an actor overdid his bit for me. Like his previous two movies i think as much he is very imaginative with his visuals, his dilaogues seems to be not so effective. Apparently the movie is cut short to about 40 mins, guess you saw the unedited version ? and how much really is the inspiration / copy from Kikujiro
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bran1gan
December 3, 2010
Padawan: Thanks 🙂 Yes, I get this a lot, and I’m not sure how to look at this whole “taking myself too seriously” issue. Because I think I’ve always taken my work seriously — in the sense that unless the film was really crappy, I’ve always attempted to give it a “seriously considered” review. Perhaps you are talking about the casualness of language, which, earlier, gave the sense of the review being less serious…
As an aside, your comment reminded me of this poem by Vijay Seshadri I read recently. Not that I have “scaled the heights” or anything 🙂
KPV balaji: I thought I wrote a comment someplace about liking the film. It’s just that I haven’t been doing BRs of late. Also, I felt that the BRs were getting too much about specific films, rather than being about thoughts “between the weekly reviews.” When I resume, I hope to get back to the older style where it was like a random musing about one part of a movie, or a trend or something like that.
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rameshram
December 3, 2010
telegram to br’s brother in bhilai : br serious . start immediately.
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Padawan
December 3, 2010
KPV Balaji: I genuinely wish that “Apparently the movie is cut short to about 40 mins”. That would have been nice. Instead, they just cut the movie short “by” about 40 minutes!
And this I say without having seen Kikujiro. Somehow, it did not work at all for me.
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Shalini
December 3, 2010
BR – While I think you still write “beautifully” and more importantly, provocatively (I mean that in the most complimentary way), you do seem to write a little more cautiously/conservatively than before. Writing may never have been a pleasure for you, but earlier I had the sense that you at least derived some enjoyment in the play of words and ideas. Now you’ve taken to endless posts of self-analysis/explanation.:-D The only place you seem to be having fun is in the comments section. I think you should allow yourself some fun even in the “official” review. My *humble* 2 cents.:-)
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Shady
December 3, 2010
What happened to the really nice Part of the Picture columns that usually appeared in Zeitgeist every Saturday.
Really miss them. Please do continue with that series.
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She_Who_Must_Not_Be_Named
December 3, 2010
Rameshram, you really crack me up sometimes 🙂 BR serious, indeed!!
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rameshram
December 4, 2010
But Seriously, rangudu? I think youre sufferring by comparison to an obviously better writer, whose not so prolific 😉 (me, haha.. )
No..seriously, I think this happens because of the rose tinted glasses with which we view the past. there is ONE piece or another that you write that some people remember , mostly because they have a tendency to iconize their own(and you are, to quote venkatesh, the thalaivar of a certain subset of english language readers of the india) , I also think youre letting this “get to you” in the sense that when you start composing reviews, the colletive expectations of all these people hangs around your neck . this is why you come across as more genuine and fun-happy when youre talking to people in your comments section. there is only one constituency you really need to satisfy- you. never forget.
And dont listen to shalini. she’s a gulzar hater. hate makes people do strange things.
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NoProblem
December 4, 2010
What about Khelein Hum Jee Jaan Sey, Rakth Charita and other films?
I don’t trust the idiotic paid shills in mainstream Indian media anymore which includes the reviewers, especially after the Burkha Dutt-Radia thing.
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rameshram
December 4, 2010
Manishacharya RIP
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bran1gan
December 5, 2010
I finally look at responding to comments, and they’ve gone all italics on me. Weird!
rameshram: Funny you chose Bhilai of all places. Have some family history there.
Shalini: Hmmmm… thank you for that feedback. Though I guess there’s also some truth to what rameshram says.
Shady: Will resume Between Reviews and Part of the Picture in Jan. Thanks for asking, though. I was beginning to think no one missed that column 🙂
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rameshram
December 5, 2010
Doesn’t every tambram in besant nagar have a bhilai(or ranchi.. or jamshedpur) connection? I thought they asked to see your bhilai chitappas photo before they allowed you into the visa pillaiar koil
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Shankar
December 22, 2010
I just watched this film…as you say, investing my interest in the happenings was a real struggle….I had a similar experience with Aisha too. It was almost like I didn’t care where the story headed…it didn’t seem to matter. The whole setup seemed so frivilous!!
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dev dddd c
May 8, 2011
@braningan What d you think of Vishal Shekhars music in this movie?? How about their music in recent times?
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dev dddd c
May 8, 2011
Please reply, braningan!!
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dev dddd c
May 11, 2011
braningan, youre not interested, or what?
Reply this time, please!!
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bran1gan
May 12, 2011
dev dddd c: I seriously do not remember any of the songs from this film. Cheers.
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