Spoilers ahead…
Something about star-crossed lovers nudges our filmmakers towards formal experiments. Chetan Anand’s Heer Ranjha is entirely in exquisite verse. Sanjay Leela Bhansali’s Saawariya, itself containing a lot of spoken verse, seals itself from natural light and the outside world – it’s shot entirely on doomed-fairy-tale sets painted in colours of the night. Rakeysh Omprakash Mehra’s Mirzya – a retelling (also a reimagining) of the legend of Mirza-Sahiban – harks back to folk theatre, and to storytelling through song. We get a sutradhar/narrator in the form of a blacksmith (Om Puri). In the most classical fashion, he reveals himself for a while, and then we only hear his words. And in the songs, we get a Greek chorus in Rajasthani attire, observing and responding to events – there, but not exactly there. In a stunning moment, their faces peer down at a schoolteacher’s body after the poor man is shot dead – yet, when the camera pulls back, there’s no one around. This doesn’t look like something at the local multiplex. It’s something you’d find at Prithvi Theatre.
The words of the narrator, the words in the songs – both come from Gulzar, who, as a child, surely fell into a vat of the literary world’s answer to Asterix’s magic potion. His superhuman fount of imagery never seems to run dry. When that schoolteacher dies, the narrator speaks of how the injury may reside here, but the lesion festers elsewhere: Chot kahin lagti hai… Zakhm kahin par hota hai. Soon, the spoken turns into the sung. The same words appear in the number Hota hai, and Gulzar keeps stepping on the gas, accelerating the metaphor from the earthy to the elemental. Sooraj se jalta hai falak / Aur daag zameen par hota hai. It’s the same thought, only now, on a more cosmic scale – that’s the scale Mehra wants to locate his love story in. At times, it all appears supremely silly. The gap between what’s in Mehra’s head and what we see on screen is the difference between the Big Bang theory and Twinkle Twinkle Little Star. We wonder, “Is that all?” But Mehra’s mad-professor conviction is extraordinarily touching. I wasn’t happy with the film, but I’m glad it got made. It’s like a rare celestial event. You won’t see the likes of it soon.
At least for those of us who bemoan the Anglicisation of Hindi cinema, Mirzya is a must-watch. At least, a must-hear. Of the colony of blacksmiths where the narrator lives, Gulzar writes, “Yahaan par garam loha jab pighalta hai to sunehri aag behti hai.” When a little boy is late for class and slips into his seat while the teacher isn’t looking, the latter turns and asks, most delightfully, “Zameen se uge ho ya aasman se tapke ho?” You don’t just hear these words. You smell them. You taste them. The songs by Shankar-Ehsaan-Loy are marvellous, but the lyrics are perhaps more significant. Ek nadi thi / dono kinaare thaam ke behti thi / koi kinara chhod na sakti thi… The river hugging both banks, unable to let go of either – that’s the heroine, who’s conflicted between two men. Later, when she is about to get married, we hear a song whose lyrics come from our epics and their lovelorn episodes with messenger-birds: Kaaga re kaaga / Piya ki khabar suna na. And what do we see? News about the hero, brought by a messenger in a crow-black burqa. The cinematography by Pawel Dyllus is breathtaking, but the film could have been shot with a handycam and the imagery would still make you gasp.
The rest of the story – of Mirza/Sahiban, and their modern-day counterparts, Munish/Suchitra – is told through images. The wilderness of the mountains that the former inhabit, versus the wilderness of the desert that determines the latter’s fate. The title formed from sand, until a bloody arrow pierces it and turns the letters into glowing metal from a blacksmith’s anvil. (Mirza is to archery what Gulzar is to words.) Mirza’s blue-tipped arrowheads mirroring the blue of Sahiban’s eyes. Or even the way Mirza and his rival for Suchitra’s affections, a prince named Karan (Anuj Choudhry), are introduced. Both are first seen with a horse, but this isn’t the Fitoor scene, which signalled class difference by having the heroine atop the horse, and the hero right there, on the ground, so she could look down at him. Mirza is shown walking beside the animal (he grooms the royal horses), while, in an entirely different scene, Karan is seen riding it. From character establishment, we segue to character exposition. Karan dismounts and kisses the animal, which is more love than he expresses for his fiancée Suchitra. Later, after he finds out about Munish and Suchitra (it’s a giggle-inducing twist on a Mills & Boon trope: the princess-to-be and the stable boy), he sees Munish riding the horse. He takes aim. He shoots the animal down. Karan’s upbringing won’t allow him to cheapen his feelings by verbalising them. We have to put them into words ourselves, by recalling that earlier kiss, by realising that Karan’s hatred for Munish outstrips his love for the horse.
We have to do a lot of filling-in-the-blanks in Mirzya. Besides the narrator, nobody speaks much – at least, nothing that means very much. Perhaps Mehra thinks that for a story this archetypal, no explanations are needed. The actions are the words. The Mirza-Sahiban portions are practically wordless. We hear no names. (This must be a first in the history of our romantic cinema). We just see a man, a woman. We see a family – many savage-looking brothers (who look like they wouldn’t need dialogues anyway; they’d rather grunt) – that wants her to marry someone else. Man and woman elope. Members of her family give chase, catch up… And we keep wondering: Maybe there’s a rich-versus-poor angle. Maybe it’s an honour-killing thing. We have ample time to think. These portions unfurl entirely in slow-motion. It takes about five minutes for the water kicked up by horses to settle. But beyond a point, guesswork isn’t enough. We want answers. We need to know if Sahiban broke Mirza’s arrows only because she feared he’d kill her family. Did she, then, not see that she was leaving him defenceless, ripe for slaughter? And what about Suchitra? Was she conflicted about leaving Karan for Munish? And are we not meant to question how she knew Munish was the childhood friend who disappeared? Is this Mehra’s version of a reincarnation story, where people just know? (The screenplay follows a typical Gulzarian structure, with the past triggering the present – say, Mirza’s arrows giving way to Munish’s game of darts.) The bigger issue: Can you hang psychological questions on chalk-outline archetypes?
Mehra is so gripped by his role as scientist, altering the DNA of the Bollywood romance, that he forgets to be a storyteller. He gives us nothing to hold on to. Years of trauma in Munish’s case – a stint at a correctional facility; separation from the love of his life; and a reunion when she is engaged to his employer – remain unexplored. All we see are abstractions. Munish is a Poor Boy. Suchitra is a Rich Girl. Karan is a Gwalior Suiting model. After a while, it begins to feel like flipping through a stranger’s family album – the pictures have no context. The leads don’t help at all. Harshvardhan Kapoor lets his unkempt facial hair do most of the acting. Saiyami Kher is subdued and tentative where we expect Deepika Padukone in Goliyon Ki Rasleela: Ram Leela. But I don’t want to blame them. Many movies have worked in spite of the leads. Kajal Kiran and Tariq are laughably bad in Hum Kisise Kum Nahin. But how satisfying the drama was. It’s the same story. A boy and a girl separated as children. Fate conspires. They meet again. They bicker. They do the I-won’t-tell-you-who-I-am and the I-hate-you (times three). And then, the emotional crescendo of Kya hua tera vaada, reducing her – and the audience – to tears. We should applaud Mehra for attempting to push the love story out of its envelope, but he goes too far. He ends up making a series of Instagram images.
And we begin to imagine what Bhansali would have done with this material. Zeenat (Anjali Patil), the narrator’s daughter, doesn’t tell Munish she loves him. She doesn’t have to. We see their closeness in the scene where she delouses his hair. We sense her feelings when Munish comes to her to get a tattoo on his shoulder removed. He takes off his shirt. She brings down a steaming iron rod. Her cries of pain are louder than his. With Mehra, you get the meaning of this scene, but with Bhansali, you’d be hunting for a tube of Burnol. Or take the instances of foreshadowing – the moment where Suchitra and Zeenat exchange bangles (soon after, they will exchange places), or the one where Karan asks Munish to teach Suchitra riding. Munish bends beside the horse, making a step of his clasped palms, so she can mount the horse. She stamps his hands, presses down on his shoulder, then pushes his head down. With Mehra, you get the meaning of this scene, but with Bhansali, you’d have added a serious S&M moment to the collection in your head.
As a purely academic exercise, it’s fascinating to see how Mehra pulls back where Bhansali would have pushed right through. We hear thunder when Suchitra speaks to Karan from an unnamed foreign location, and we hear thunder again when she returns to India. You think Mehra is colouring the character with violent shades from Nature – but that’s it. We never hear thunder again. On the soundtrack, Daler Mehndi’s high-pitched vocals pull us powerfully into the story. On screen, the singer is heard sporadically – and suddenly. It doesn’t sound like a troubadour singing about a legend. It sounds like someone from the colony of blacksmiths after an anvil fell on his feet. The chorus, too, comes and goes – after a while, they stop making narrative sense and start looking like outtakes from a Rajasthan Tourism commercial. Then we have Suchitra’s father (Art Malik), a cop with a thing for Shakespeare. Bhansali must be kicking himself for not thinking him up. The man recites the balcony scene from Romeo and Juliet (another star-crossed romance). The man quotes from Julius Caesar (another story of betrayal). The man has a poster of Twelfth Night (another tale of boy and girl separated, then reunited). That’s where Mehra stops, and it’s not enough. Bhansali would have gone all the way. After Munish and Suchitra elope, we’d have heard, “Cry havoc, and let slip the dogs of war!”
KEY:
- Mirzya = see here
- Greek chorus = see here
- Sooraj se jalta hai falak / Aur daag zameen par hota hai = The sun scorches the sky, but the stain falls on the earth.
- Yahaan par garam loha jab pighalta hai to sunehri aag behti hai = When hot iron melts here, we get rivers of golden fire.
- Zameen se uge ho ya aasman se tapke ho? = Have you sprouted from the earth, or have you fallen from the sky?
- Kaaga re kaaga / Piya ki khabar suna na = O crow, bring me news of my beloved.
- Fitoor = see here
- Goliyon Ki Rasleela: Ram Leela = see here
Copyright ©2016 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Rohit Sathish Nair
October 10, 2016
Why isn’t Gulzar to be blamed for not giving us answers, or failing in this juggling act?
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brangan
October 10, 2016
Rohit Sathish Nair: Because it is the director’s duty to “shape” the screenplay (and every other element of the film, really). When it comes to major filmmakers, every aspect of the film goes back to them.
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Rohit Sathish Nair
October 10, 2016
I could infer from your review that this was Gulzar’s baby as much as it is Mehra’s, so isn’t he also responsible for throwing his hands up I’m the air when it really could have mattered?
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Puneeta Uchil
October 10, 2016
The story is so deserving of SLB. I completely agree that this is a fail on Mehra’s part but he was always more of a visualizer than a sadomasochist like SLB who would writhe in pain, make the actors and characters do so, and have all of us do the same just so we could feel his art.
Remember that scene where Ba cuts Leela’s finger off, and the elements scream and rage with the flow of her blood? That is what this film needed.
Mehra is, I get it now, he’s too clean. He’s too bloodless.
There were so many lovely moments that if he had gone all the way would have given us gold.
I actually thought the actors gave more to him than he gave to them. The scene with Soochi crying after Munish sends her away, and then Karan kissing her, he should have lingered on some more on that. Let the pain be really felt.
Incidentally the only pain that he allowed us/the actors to wallow in was with the child actors and the animal. That whole sequence until he ran away from the correctional facility had me expecting a much much more feeling-filled film than it ended up being. The scene where Karan shot the horse was on another level and what a fabulous actor that guy is!
Still like you said, good that it exists. A once in a lifetime event.
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Dracarys
October 10, 2016
BR, just watched i…was glad the movie wasn’t that long as his previous BMB was…but your review over-justifies the movie!!!… 😀
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brangan
October 10, 2016
puneeta uchil: Yes. It’s sad. Because for all the new technologies on display, Mehra is one of the few who still is interested in Indian storytelling. Not just from older Indian cinema, but the folk and classical arts. I was quite stunned when I saw that “kaaga re kaaga” bit. But that’s the problem. It’s only a bit. And it passes by too soon to truly come alive, to make us feel the pain of a Ravi Varma heroine who has to now rely on nature to communicate with her lover.
He used song-based storytelling excellently in Rang De Basanti.
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brangan
October 10, 2016
Okay, at least one question seems to have an answer I missed. Got this on FB…
Hey, mirzya – “And are we not meant to question how she knew Munish was the childhood friend who disappeared?” He lets slip the name of the school when in an earlier scene he claims to have not gone to school at all. Still, badly done.
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Sowmya:)
October 10, 2016
Small little things would have made a difference, I thought. Like Suchi could have told the stable boy ‘Patha nahi kyon par tumhe dekhkar meri dost ki yaad aa gayi’ instead of just ‘kya tum Jodhpur gaye ho’ which was to imply the same but doesn’t carry similar impact. Maybe better actors could have made us feel more. A Deepika and Ranbhir would have us invested more in these characters. The child actors were so much better and that part was so good that the latter parts became a bigger letdown
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Krish
October 10, 2016
I agree with your analysis of the director’s decision to not go all the way and force everything down our throats. But ROM definitely can’t expect us to fill in the blanks for the lead’s feelings towards each other. Suchi seems perfectly happy until she knows that Adil is Munish. She suddenly is head over heels for someone she hasn’t seen for 20 years. There is nothing shown about them being lovelorn in the time they were separated. Even after they find each other, the chemistry is lukewarm. Even the fantastic Chakora can’t make the love making scene explode with tension. ROM nails it with Zeenat (the scene when they break open the door followed by Gulzar’s Chot Kahin par..) and also with Karan (your superb observation about the horse metaphor which I missed). But we don’t see that with the leads. What Gulzar does with words in Ek Nadhi thi, doesn’t translate with the same intensity on screen.
I felt this lack of intensity and chemistry particularly in the flashbacks. ROM gives us too little there. Its a shame that you don’t feel for those fabled lovers from folklore.
Talking about Gulzar letting us down, I read atleast in two of Mehra’s interviews where he says that when he asked Gulzar why Sahiban breaks the arrows, Gulzar apparently told him lets explore and see why. But I guess they never found out why.. 😦
Maybe Sahiban thought its better to be united in death than face tough choices..
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SUMIT upadhyay
October 10, 2016
Nicely written….all is true….great research!
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Saurabh Sharma
October 10, 2016
I read in an interview that ROM went without dialogues for the old time because he wanted to create a feel for timelessness of the story. When Gulzar said to him that Mirziya Sahibaan story is timeless. He pondered long over the question of how to show a story timeless, what makes a story timeless.
And then he decided that old story will not have any dialogue. If you think about it, it kind of make sense too. [though it can be really good if they keep on changing the costume over the time]
I actually found it quite fascinating when I read about it and though about it. To me it was quite a feat to think like this.
Though I am not sure how it has been shown on screen. But I think its not done well, as no body has mentioned it till now in their analysis of movie..
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abhi T
October 10, 2016
Needs to be a debate about “Anglicisation of Hindi cinema” – both literal (most operative words and dialogues in English) and cultural (emotions, milieu, framing). Such a fundamental change happening, not sure if the industry recognises the phenomenon
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brangan
October 10, 2016
Saurabh Sharma: That sounds like a great idea on paper, right? But on screen, you have to then find another way to reveal the psychologies of these characters. So you’re saying you don’t want dialogues. Great. But by making it all just visuals, you’re giving me just another story about two people whose parents don’t want them to get married.
The things people say, think, do — these are what convert archetypes into interesting and specific characters. And when we are clued in these emotions, we don’t mind watching even the 1000th version of Romeo and Juliet. Because what this iteration of Romeo and Juliet say, think, do are different.
So I’d say he got the “timeless” aspect down pat, but at the cost of everything else, at the cost of making us interested in and care for these lovers.
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P
October 10, 2016
BR: Indeed it is sad. Because Mehra has an amazing sense of India. But I think (just guessing here) its his western advertising side that makes him flinch at going all out “gothic nautanki” as you so perfectly put it for SLB in your Bajirao Mastani review.
This was more like a Broadway Greek tragedy like Oedipus Rex. Like maybe the original Roussell Padmavati, but I guess it would be better if it were staged live, and the people were real YKWIM?
That kaaga re kaaga line had me remembering THE kaaga re kaaga(re mori itni araj tohse chun chun khaiyo maas 😥 ) line from Rockstar’s Nadaan Parindey. There wasn’t even a physical embodiment of a Kaaga in that one but the way Imtiaz staged it! UFF! It’s like someone ripped your heart out and set it on fire.
Mehra is well, yeah, bloodless. He keeps it way too classy at all times. Lekin Majnu ko kapde phaadke beech bazaar Tamasha karna hota hai 🙂
I think the excellence of RDB had a lot to do with a certain Khan (the scene where he breaks down while eating food is still etched in my mind!) who knows Indian storytelling to a T!
Remember the story of an alien visiting a strange land being completely Jataka Tales-ified? On an aside, if you’ve read Stranger in a Strange Land you will know who the inspiration for PK is.
Or a soft Talaash.
Hell, he even made a Chetan Bhagat novel better.
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Saurabh Sharma
October 10, 2016
ya Its difficult to do something like this. When I first watched Charulata, i didn’t find it great, ya it was good movie. But on repeat watching I observed eyes movement and expression more closely and found it a different work and better than before. It has less dialogue to express feelings.. It never touched me like Pather Panchali though so I know what you are conveying.
But I really liked that he had different thinking and even guts to go ahead with the thought. On Paper it is really a great idea but then also it can hamper commercial aspect even if somebody done it right. I was amazed that he came up with this though as I kept wondering also how to express that story is timeless.
Let me watch movie and then better comment. I was waiting for your review as all the other reviews thrashed it and I had high expectation.
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P
October 10, 2016
The scene with the child actors was just perfect. Those kids had so much earnestness, and the song totally blended in at that point. I was crying by the time the song completed.
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P
October 10, 2016
If I had to compare SLB to any of his characters it would be Mastani- her arrogance, her quiet love, her extravagant, dramatic gestures defying society, nature and love itself.
Mehra is like Karan, the Prince. Too classy. Too “with it”. Too upper-lip to go all out. 😉
I never thought he would do a love story, and I don’t think he will again, but its interesting that he did it and I am happy to have seen it. Its the best thing on screen this year so far.
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brangan
October 10, 2016
Saurabh Sharma: But again, Charulata is a very unique story. It’s about a bored housewife. We don’t get many stories about bored Bengali housewifes whose lives blossom when a new man enters. But when you have a story that’s been told 10,000 times, some kind of “communication” with the audience is needed to differentiate your version. I agree, it need not be words. But there has to be something.
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the brangan fan
October 10, 2016
sir,
why call it a major misfire when you have some nice things to say(compared to other films)?
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piggie
October 10, 2016
I won’t say the movie was amazing.. but it was aesthetically pleasing and had so much potential.. it’s a pity that people aren’t even going to the theatres to watch it.. it is quite a treat to watch on an IMAX screen..
‘Chot kahin lagti hai jaa ke… Zakhm kahin par hota hai..’
I loved how this sentiment was reflected in various scenes throughout the movie..
It started with Soochi getting caned by the teacher.. even though she was the one being hit, it was Munish who was in pain..
Then, of course, there was that lovely shooting scene with the sutradhar actually speaking the lines in the background..
We also see it when Zeenat is cauterizing Adil’s tattoo.. she’s the one screaming in pain even though it’s his skin that’s getting burnt..
Later, Soochi cries in pain when she sees Adil’s burnt skin..
And then we know that it’s Karan’s heartache which leads to the injury on Adil/Munish’s head and Safeda’s death..
I also found the bangle exchange thing really cool.. The bangle becomes the symbol of love.. They are all just interconnected links in the chain of ill-fated love.. Zeenat has given her love (Adil) to Soochi.. Soochi will be giving herself to Karan.. Soochi gives Karan’s bangle to Zeenat saying she’ll give the other one to Munish.. in other words, she closes the loop.. And in the end, all four of them die, for love..
Oh the poetry and symbolism in this film! So lovely.. If only Mehra had remembered to breathe life and love into the characters.. It’s like you can see the poetry but you can’t feel it.. I get that the characters were all archetypes.. but anyone is going to walk into a movie based on Mirza Sahiban expecting to feel some emotion.. I wish he had gone further.. made it more sensuous.. made it more tragic.. made it more painful.. there was no longing in the lead characters.. we don’t see them pining away for each other.. things seemed to move too fast and too slow at the same time.. in a story largely told through poetry and expressions, the secondary characters, Zeenat and Karan, got to show a wider range of expressions than the leads.. I did find Saiyami Kher stunningly beautiful though.. Harsh too has a sweetness about him.. but they looked more like best friends than lovers.. can’t really say anything about their acting prowess.. to be fair, the director didn’t ask them to do much..
At times it felt like Mehra expected the audience to be too intelligent and read between the lines.. but then there was that unnecessary, explicit Romeo and Juliet reference that Suchitra made when she met her dad at the airport.. eye roll..
Sahiban ne teer kyun tode?
I had another question.. Sahiban ne ek teer kyun chhoda? Soochi left one bullet in the gun.. why? Why not break all the arrows? Why not leave the gun completely unloaded? Was there something they were trying to say? I want to know what Gulzar really thinks.. what got lost in translation.. what got lost in interpretation?
What I took away from it was that this love story IS an archetype.. era after era there are going to be people who find and love and lose each other, doomed to never be together.. there’s going to be a woman who sacrifices her love and herself for the sake of others she can’t bear to hurt, all the while, imagining a future incarnation which will allow them to requite their love.. but she doesn’t know that theirs is a love that isn’t meant to be.. hmm.. Soochi wasn’t really confused about who she wanted to be with.. rather she was confused about where to draw the line with her selfishness.. she could be selfish with her lover and betray him because he was ‘hers’ and they were one and the same.. but she couldn’t be selfish with her family.. maybe Sahiban felt the same way.. how many women like this do we know? I know quite a few.. such an interesting archetype, reduced to a caricature.. interesting film though.. I hope Mehra doesn’t stop experimenting..
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P
October 10, 2016
Piggie. If there was a way I would ❤ your comment. So many lovely viewpoints. Thanks.
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MANK
October 10, 2016
I think the excellence of RDB had a lot to do with a certain Khan (the scene where he breaks down while eating food is still etched in my mind!) who knows Indian storytelling to a T!
Punee, that’s absolutely right. Aamir may have a lot of flaws and pretensions , but he definitely knows how to connect with an audience. Mehra has always made esoteric films right from Aks – which by the way is a film that i quite like – and even when he makes films with a sense of india ,his inspirations have always been from the west, both in form and content.Aks itself is a melange of Hollywood films like Fallen and Face off . He needs someone like Aamir to bridge his tastes with a mass audience. this explains why he has never had such a wild box office hit since or before RDB. even though i dont think RDB is Mehra’s best film, for a film that had such a subject matter and such a form, it was a wildly entertaining ride, a lot of it thanks to Aamir.I remember Amitabh Bachchan saying in an interview that when Mehra had first narrated the script to him and Abhishek, they couldnt make heads and tails of it and had rejected it. It tok Aamir to realise the potential of the subject and i am sure he must have worked closely with Mehra and Kamlesh Pandey in developing it.
Mehra’s best has to be Delhi 6. its one of the most original and idiosyncratic movies made in this country (at least three quarters of it is, not the cliched climax were Atul kulkarni breaks into the predictable AK Hangalesque speech). the level of detailing – both in characterization and ambiance- and the technical brilliance of the film is just awesome. even when one watches the film on Blu ray today, you feel like being transported to the middle of that Delhi locality.
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olemisstarana
October 10, 2016
Damn, Ek Nadi Thi is just brilliant. And Kaushiki in Kaaga, uff! Thanks BR. Don’t think I’ll be watching this… but the music is very… intriguing.
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Krish
October 10, 2016
Piggie, loved your last paragraph!
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Anu Warrier
October 10, 2016
@MANK, not the cliched climax were Atul kulkarni breaks into the predictable AK Hangalesque speech).
Apparently, Mehra himself wasn’t too pleased with the ending. So he changed it in the DVD, or so I read in an interview of his recently. I loved Dilli 6. Like Nishabd, I seem to have been in a minority. 🙂
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Aditya (Gradwolf)
October 10, 2016
Big Delhi 6 fan here too. I remember the weeks after its release. One of the post polarizing films in the last decade. Either people loved it or hated it.
I wonder if it is the low key-ness of the promotion or because new faces are involved but Mirzya comes pretty close, in terms of scale, as an album that is as epic as say, Dev.D or Delhi 6 (both of which incidentally came at the same time).
@MANK: While Bhaag Milkha Bhaag did not excite me, it was quite a huge hit. Aamir’s performance is good in RDB – even if Siddharth leapfrogs even Aamir there – but I do think giving Aamir so much credit is a bit overstating it. Aamir can sure gauge a product well, he is more of a businessman than a script/directorial consultant so I get the part about Aamir having chosen RDB but his contributions, I am not so sure. It’s not like you see an authorial stamp, say, the way you see in Kamal’s ghost directed films. The product/business stamp, well , yes that’s for all to see. About Mehra’s content part, I think it is very much Indian while Mehra’s form is indeed western.
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Dev
October 11, 2016
“We have to do a lot of filling-in-the-blanks in Mirzya”
I felt the exact opposite. There is wayyy to much explaining from the bard’s couplet to mention of his play to the bangle scene to “explain” to the audience they link and on top of all that explanation thru’ song about the river flowing between two banks that never meet…jeez.
And the cliched scenes just robbed the movie of originality (the one with art malik and harsh for instance)
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Shalini
October 11, 2016
Sorry to hear that “Mirzya” doesn’t really work as a film. I don’t think I’ll have a chance to watch it in a theater but I really wanted it to be a success (critical and commercial) for both Mehra’s and Gulzar’s sake. Pity.
Aside: Am I the only one who hears echoes of the same metaphorical dilemma in “ek nadi thi, dono kinare thaam ke behti thi, koi kinara chhod na sakti thi as in “”koi kinara jo kinare se mile woh, apna kinara hai..”?
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P
October 11, 2016
MANK: Agreed. Agreed. Agreed.
Aamir I’ve heard is known to make incisive comments and sort of reach out to things that could be done.
For example: I find Sanju in Munnabhai to be good, but Sanju in PK is just epic. An unforgettable career-defining move. I thought he was brilliant. Aamir knows to bring DRAMA. Which people like Raju or Ashutosh or Mehra generally shy away from. He knows climactic moments and plays them up for what they are worth. (this is making me wish Aamir worked with SLB. OMFG. That would be epic!)
Same with Anushka. She has done so many fluffy bunny roles, but playing against Aamir just makes it work.
He has great cinematic sense. And when you are a big star, that is a huge quality to have. I feel SRK gives people too much space that way. He’s too generous when he should be more whip-ish.
PS: I loved Delhi 6 too. I thought it was really nice. Though the theme/plot was a lil blah (can’t there be anything except “unity in diversity” as theme when a community of people is spoken of?!!!!), the treatment, script, feel were great.
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P
October 11, 2016
Listening to the songs again. I thought all (but one) of the songs were perfectly done. Chakora was the weakest and most western/modern dhinkchak sounding, when it should have been the most delicate sounding giving the context in which it appears in the film. It should have been rapturous. The point at which love/lovers finally comes together deserved more.
I am happy for Raju Sundarum that he got this lovely piece in his resume 🙂
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brangan
October 11, 2016
P: I also felt “teen gawah hain ishq ke” was too gauzy and SEL-ish for that point. It felt like something that belonged in Zindagi Na Milegi Dobara…
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P
October 11, 2016
BR: Teen Gawah is very very pretty. It was ok for that to be gauzy considering the stress of the situation was broken when they started laughing. To them it was not unlike a ZNMD journey- in that moment- they were free from the moorings of the world and the implications of what they had done. I might have this opinion also because that and “Hota Hai” are kinda my favs from the soundtrack. I might be leeeeettttlllleee biased 🙂 😛 I just love that Gandharva kalyanam sentiment- that there is no witness to our love except god, you and me. Its just lovely.
But Chakora was supposed to amp up the situation. I am really surprised they went all dhinchak when it should have been something like Ang Laga De- feverish, heated, sexy, throbbing with excitement, fear, lust and love. The visuals were mindblowly such, but the music was more a club song with slight desi beats.
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Rahul
October 11, 2016
This dude seems to have a very high opinion of himself and his acting skills.
http://www.rediff.com/movies/report/my-style-of-acting-is-different-from-what-you-relate-anil-kapoor-with/20161004.htm
“He knows that he was not good in Parinda. He himself told me that he messed it up because he was so successful at that time with Ram Lakhan and Tezaab. He was so iconic as Munna (his character in Tezaab) that he tried to recreate it all the time. It is not necessarily the best thing to do.”
“But in the 1980s and the 1990s, when he became a huge star, he was synonymous with the energetic larger-than-life kind of performance. That was the brand of cinema then. I don’t believe in that nor do I gravitate towards that. I like to recreate reality.”
Anil Kapoor may be his Dad but he is also one of the four actors that Dileep Kumar picked as best ever in Hindi films. I remember, when Sonam Kapoor debuted , she had my best wishes. Harsh has definitely burned that bridge : )
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Apu
October 11, 2016
BR, MANK and Punee: Love how you all write and describe the movie – will probably never get to see it here in US, but thanks for the visuals through your words.
I am probably biased because I have been a AK fan (though off late I wish he would be a little less obvious about how he times his controversial comments and moves), but yes, he packs in drama, screen presence, and just the right twist to pull the viewer in.
Olemisstarana: Loving the music too.
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Apu
October 12, 2016
Rahul: He is talking about his dad, isn’t it refreshing that he is not pandering to other peoples’ perceptions? I mean, a guy can talk about his dad without being censored by other viewers I hope.
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P
October 12, 2016
@Rahul: He’s right about Anil losing his way in the constant recreation of Lakhan/Munna, but that doesn’t mean the original Munna or Lakhan were invalid in anyway- which is what he kinda seems to be implying.
And for someone with such a so-called refined sensibility to not even mention what I think is Anil’s most restrained work- aka Lamhe, is shocking.
I would respect his judgement more if he spoke about Lamhe. But he probably dismisses it as Yash Chopra faff which means he is as superficial as those who love the 90s Anil 😉
Apu: I know ADs on the Bhavesh Joshi movie. Supposedly he had a huge chip on his shoulder and is now kinda coming down to earth in his interactions with people. I think he has great great potential – don’t get me wrong, but to be beloved by people the right attitude is key. You don’t get to throw your weight around and judge a veteran (even if he’s your dad) when you yourself are barely wet around the ears and have your own prejudices (be they avant garde) to boot.
Also thanks for your compliments. I am so very rarely galvanized into speaking about films so glad that something like Mirzya comes along 🙂
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Aravind
October 12, 2016
It’s high time they instituted an award for the Best Location. The Ladakh portions were showcased phenomenally.
That said, I think where Mehra failed was not in the romance but the action parts. They were mounted beautifully, no doubt, but they were more balletic, when they should have been raw. Mirza-Sahiban ultimately is a life or death affair and the movie’s languid pacing didn’t do much justice to it. Take for instance the polo sequence where Suchi first sees Adil in action. This could have been a showcase for Adil/Mohnish’s riding skills with a couple more minutes of screen time. All we get is a surprised reaction from the lady. Also the panther attack sequence could have been harsher – showing Mohnish’s innate ferocity. Mirza/Mohnish/Adil is ultimately a killer – save the childhood portion this wasn’t much dwelt upon. Nowhere do we see cause for Sahiban to fear Mirza’s prowess. Also the action sequences at Lakadh were beautiful when they should have been a bit more vicious.
Ultimately, as pointed out earlier, this was all too classy when a bit of violence could have amped up the movie IMHO. There was really no fire. A remarkable effort nonetheless.
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MANK
October 12, 2016
It’s not like you see an authorial stamp, say, the way you see in Kamal’s ghost directed films.
Aditya, a few things here.
One Aamir is not a writer and hardly the filmmaker that Kamal is, so the question of authorial stamp does not arise.
Aamir has never written a film and even the one he directed was something he took over from another director.
Secondly he seems more a facilitator inspiring directors to give their best in the the service of the film or their film. , unlike Kamal, who seems to be pushing others to realize his agenda, his vision, which sometimes could be a good thing , but sometimes can go terribly terribly wrong (as in aalavandhan ,dasavataram,..)
If you take his films from sarfarosh ( or may be even before that), then Lagaan, DCH,rdb etc are works of directors on their debut or coming back from serious disasters. I dont think it just happens that they tend to make their best films with Aamir only because he is a good businessman, i cant believe he is not a strong voice in the creative process in shaping the film
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MANK
October 12, 2016
Brangan,suffice to say that Mirzya is an extrodinary audio visual experience. My appetite for sound and visuals haven’t been nourished by any indian film recently, may be not since Bajirao mastani as this one has .Unlike BM , which pretty much followed the narrative structure of a traditional indian film, this one is truly esoteric in form . The story that would have very easily made in to a Magadheera kind of blockbuster has been taken straight in to Terrence Mallick territory by ROM and for that atleast he deserves all the kudos. Every frame, every camera move , every ray of light hitting the actor’s forehead , every editing cut , every piece of music has been so meticulously crafted and executed. i couldn’t take my eyes of the screen for a moment , even with such bland and boring lead pair.
Beyond that i agree with almost everything you have to say.You can feel what ROM is going for here some really grand ideas and concepts, but their execution is utterly simplistic. the disconnect between Big bang theory and twinkle twinkle little star – as you put it.I wonder whether large portions were cut out of the film.I do buy the fact that in the old story with hardly any exposition , any characterization, just visuals strung together by verses, is an artistic choice. but the nature of contemporary story is different. he spends a lot of time on exposition , the childhood of the leads is detailed. so when we see them come together so abruptly as adults, it hardly seems to be artistically credible.same goes for the characterization. the kid who would shoot his teacher for hurting his lover (for his own fault btw) and runs away from a correction facility is gonna grow up to be one creepy mad MF. one doesn’t find any such madness or passion in the grown up Munish. Suchi’s lover Karan seems more like the guy that Munish would grow up to be
Reg:The broken Arrows scene,It is open to multiple intrepretations. the present day scene that subsequently follows gives some of the answers. where munish keeps popping one bullet out of the gun after another saying this one is for karan, this for your father. He kills Karan with the only bullet , may be it was her betrothed that he killed with the lone arrow that was left. May be she wanted him to be killed by her father rather he killing him
Punee, i thought that the chakora song was just fine in the context of the film. it was quite a burst of energy in the middle. even though it reminded me of the orgy scene in Matrix reloaded without Neo and Trinity making out 🙂
we were discussing on some other thread were a film’s intermission comes with a song – like Maine pyar kiya. well this one definitely was it
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MANK
October 12, 2016
2 films that i was reminded all throughout while watching this was Mallick’s Tree of life and Francis coppola’s One from the heart. In the former, how mallick has a wordless flashback about the formation of universe and life of the prehistoric species cut in to the present day story . In OFH – another ambitious misfire from a master director who was experimenting with a cold formal style for a romantic love story-, coppola uses Tom Waits to sing about the story that he is telling in the background just like ROM uses Daler Mehndi here.Even the style of the picture- especially the contemporary story- with its long long takes with slow moving camera is a lot reminscent of that film
on a side note,The cold formal style just doesnt work with Romantic films IMO. This always put a distance between the audience and the characters. you need to feel the intensity and passion near you for the film to work for you The technique works much better with crime dramas or procedurals like Seven or Zodiac
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MANK
October 12, 2016
Rahul, Anil Kapoor in his superstar days was also a very similar guy, He was famous for picking fights with anyone and everyone and having a poor opinion of everybody else except himself. so the apple doesn’t fall very from the tree , i suppose 🙂
Punee, I dont know on what basis you are saying that Harsh has lot of potentiol, definitely not on the basis of Mirzya. he lacks any ounce of charisma or talent. unless he works some kind of miracle in his next film, he is bound to be another sanjay kapoor. i am sick and tired of frontline directors picking up good for nothing star kids for their films when their rich fathers and mothers can easily launch them . these directors should be encouraging talents who just dont have that kind of industry support. These star kids have the industry so bottled up that it is only once ina blue moon that a really talented actor like Ranveer or Kangana could fall through the gaps and achieve stardom
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Rahul
October 12, 2016
Apu, that he does have an opinion and that too an unfavorable one of his Dad’s work is refreshing, i agree. But I have issues with the language and the approach he has couched his criticism in..(P has said a lot of what i wanted to say. )
It is so sophomoric – for eg. “recreating reality” is one of the most cliched terms about acting. The dichotomy of “larger than life” and “reality” is false. Can’t “reality” have “larger than life” moments? Besides, what if he is offered a movie like Mr India. Will he say, no, I cannot relate to it unless you can really make me invisible, because I am in the business of “recreating reality” ? In any case, Anil Kapoor is not your run of the mill commercial actor, I see him more as a character actor.Reducing his Tezaab and Ram Lakhan to “larger than life” and “unreal” is , well, reductive. I am sure that he approached these roles as a mix of archetype and character.
As P said, I agree that Anil did make choices after Tezaab where he was playing more of the same archetype. But i disagree about Parinda. I would not be surprised though that he himself said that he made a mess out of it . He was fiercely competitive and he would not have liked that Jackie and Nana created more impact with their performances.
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Rahul
October 12, 2016
MANK, Anil Kapoor even before he became a star, had a great body of work . But Harsh, seems like he was born yesterday, read a few books about acting, hung out with Anurag Kashyap and now will dazzle us all by recreating reality.
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P
October 14, 2016
MANK: I had no problem with the song per se, except that it didn’t fit what was essentially a sex scene between estranged lovers and was more in the mode of a dhinchak club number 🙂
I do think that Harsh has potential. He could use his slight frame and broodiness to good use, if he tried a lil harder and came down from his avant garde “realistic” perch. Gosh. It still rankles me that he didn’t mention Lamhe. Which was Yashji’s fav film too. Ass of a boy. Sonam’s brother to the core.
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P
October 14, 2016
Rahul, agree with all you say. I really don’t want to defend Harsh after seeing him diss not just his father, but Arjun and Ranveer and from what it looks like – the choices of most of the people in the industry. But I think in a world of Siddarth Malhotras and John Abrahams he does have a certain je ne se qois that is very attractive in a broody, gothic way.
That scene before Chakora, when she asks him that he feels nothing for her and he says “Nahi” and then again “Nahi” so softly…it was lovely. I do think Saiyami had more screen presence and has a better persona than him though, she’s both innocent and sexy- a rare combination. Shobha De called her Deepika Padukone+Kajol which is really high praise but I kinda agree….
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brangan
October 14, 2016
For me, the problem with Chakora wasn’t so much the song itself but the picturisation.
It’s a huge moment in the relationship. They make love, but the director decides that instead of staying on the couple, he’d rather “depict” this lovemaking through the chorus, whose movements are all erotic writhing and leaping on one another, etc.
Conceptually, it all sounds great and innovative, but it just doesn’t work on screen because we’re already struggling to relate to this couple and we need every extra minute with them — rather than being told ABOUT them through the chorus.
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P
October 14, 2016
BR: That is exactly why I think it would work better for stage. It just didn’t translate to the film medium.
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P
October 14, 2016
An interesting review, which again lays all blame at Mehra’s door. I think Mehra is just not meant to make passionate love stories. Its not his thing. If I remember even the love stories in RDB were low-key, he is much better at showing friendships and communities. But you can’t make what is essentially a love story with the latter showing up the core. Nope.
http://thepuccacritic.blogspot.in/2016/10/mirzya-movie-review.html
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Rishikesh
February 13, 2017
I managed to watch the film last day, since you do not bother about late comments, I put forth my views here..I think mehra lost his grip exactly at the moment where the tone of the film changed from romance to drama and attention shifted to the support cast..the film fared much better in initial scenes when attention was solely on leads who were decent considering it was their debut. Another disappointing note is that dream portion doesn’t quite connect with the present day scenes in any manner..I feel the tropes he employed in RDB failed here..but mehra shud be appreciated for the attempt..at least he is treading a path of his own.. in terms of technicalities movie is a winner..and the songs by SEL just keep you watching.
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John
March 17, 2017
Yet to watch this movie. Some of the people have really appreciated it.
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