Spoilers ahead…
In a sense, Gauri Shinde’s Dear Zindagi is a greatest-hits compilation of Alia Bhatt’s career. Bhatt’s character, Kaira, suffers from insomnia (we saw that in Shandaar). She has abandonment issues (Shandaar, Kapoor & Sons). She gets long scenes in which she dredges out a painful past from a repressed corner of her psyche (Highway, Kapoor & Sons, Udta Punjab). She gets longer scenes in which decades-dormant issues against family erupt, as others sit around stupefied (Highway). In a sense, Bhatt has always been on the couch – with friends and scruffy abductors serving as impromptu therapists, healing her soul scars. But this time, the therapist (Jahangir ‘Jug’ Khan, played by Shah Rukh Khan) is really a therapist. He comes with an MBBS degree, and he charges 3000 an hour. He’d better accept cards, else there’d be no movie – Kaira would be standing at ATMs all day long.
Do films on issues senstitise us to them? Or do we just watch films as entertainment, make clucking noises for a couple of hours, and return to our homes, to our default settings? If you believe the former, Dear Zindagi is a quiet little revolution. Mental-health issues in our films have always been about ten-ton conditions: Asperger’s (My Name is Khan) Alzheimer’s (U Me Aur Hum), schizophrenia (Raat Aur Din, Karthik Calling Karthik), autism (Barfi!), or in the films of the 1960s, mental-health patients cowered in bed as the nurse advanced menacingly, holding voltage clamps. Kaira ends up in therapy just because. There’s nothing wrong with her. She isn’t hurting herself (though she certainly is hurting), and she isn’t hurting others. She’s in therapy the way she’d be at the dentist’s because of an aching tooth, or at the family doctor’s because she was running a temperature of 101. This normalisation of a process that’s still something of a novelty in our country is the film’s biggest achievement. It’s a wonder they didn’t rope in NIMHANS for a product-placement deal.
In an early scene at an airport bar, Kaira orders a Coke. She tells her amused companion, “I drink only on two occasions. When I’m in love and when I’m not.” It’s a curious confession, for what other state is there? Shouldn’t she always be drinking Coke? And then we find out. Kaira keeps falling in love and before she can fall out of love, she bolts. She exists in a romantic limbo. And for the longest time, Dear Zindagi seems to exist in a narrative limbo. I found myself simultaneously itching for something to happen and grateful that the film was content to just drift along, with characters bobbing like corks on a tranquil lake. Shinde uses this pace, this time to let us get to know Kaira, to be with her as she rips open boxes that have arrived from eBay or breaks up with boyfriends or asks her mother about a doll she had as a child. The film is as absorbed with Kaira as she is with herself – but not unreasonably so. Kaira asks a gay friend if he’s in therapy so he can tell others he is gay. He says it’s so he can tell himself he’s gay. This is what therapy is. It’s an inner journey, and at least half your baggage is self-absorption.
You could argue that there isn’t really all that much to Kaira that couldn’t have been expressed in half the time. And you’d be right. Shinde’s characters don’t cut very deep. Kaira’s friends are all stock figures defined with one or two telling details: the tart, sensible, sorted BFF (Ira Dubey, who’s wonderful; I wish she’d had more to do); the flaky yoga practitioner (Yashaswini Dayama); the Faulkner-quoting gay guy. Here’s Kaira’s family: nosey but concerned uncles and aunts; an achiever of a brother; a father who’s proud of Kaira’s self-made career and yet keeps wanting her to be more… “normal.” (How marvellous that our cinema is finally recognising that parents can be benign monsters.) Here are the boyfriends: interested but won’t wait forever (Kunal Kapoor); owns a restaurant (Angad Bedi); somehow escaped being targeted by the MNS (Ali Zafar). Here’s Jahangir: divorced, with a son. And a talent for fixing things: cycles, side-table tchotchkes, psyches.
But within these broad strokes, Shinde gives us splotches of vivid colour. Instead of regularly timed explosions of information, we get the steady accrual of character detail. Like Kaira is kinder to strangers than she is to friends and family. Like she literally dances to her own tune, as in the scene in a nightclub where she plugs in earphones and hits the floor. Like she’s picked a profession she’s good at but one where she has to keep making sure that she’s being hired because of her talent and not because of her looks. She’s a cinematographer. It’s unusual seeing a woman in such a male-dominated field, but then Shinde stages a scene in front of a theatre screening Ki & Ka. It’s both a plug for her husband’s film and a reminder that if Arjun Kapoor can keep house, anyone can do anything.
The film really takes off when Kaira begins seeing Jahangir. It’s the classic arc. First she talks about a “friend” who has a problem, and then she eases into the process – a little too quickly, but who wouldn’t when the man opposite is Shah Rukh, radiating his innate Shah Rukh-ness? The star isn’t playing a hero, but he’s introduced like one – at first, we just hear his voice, and that’s enough. It’s a voice we’ve heard for almost thirty years now, and we know those modulations. Shah Rukh isn’t being Jahangir. He’s being Shah Rukh. When he says, “There’s an important study, based on the size of the human brain…,” we hear “Bade bade deshon mein…” But it works. After almost an hour of new-gen eventlessness, I welcomed this jolt of old-fashioned star power. Jahangir is the psychiatric world’s answer to the teacher Robin Williams played in Dead Poets Society: an iconoclast who comes with a “do not try this at home” sign and will do anything to achieve his ends. He goes cycling with Kaira. He plays kabaddi with waves. He makes therapy feel like a Mediterranean vacation. (The sunny cinematography is by Laxman Utekar.) After his psychic ministrations, which sound like motivational posters made of vanilla ice-cream, Kaira doesn’t just recalibrate her relationship with her family, she also re-friends all her exes. This isn’t breakthrough. This is the plot of The Martian.
When you watch the therapy sessions in Ordinary People, you feel wrung out. Here, nothing is allowed to linger-vinger. Kaira fights with a friend one night, and makes up the next morning. One outburst at the parental units, and a lifetime of resentment evaporates. I’m not saying these are problems. I’m just saying that, as we guessed from English Vinglish, Shinde took her filmmaking lessons from Mary Poppins: the medicine goes down easier with a spoonful of sugar. Or syrup, in the case of Amit Trivedi’s title song. This is, at the end, a feel-good movie that reinforces little truths like how it’s better to articulate feelings rather than let them fester – it could be called Therapy Verapy.
Shinde’s real feat is to contain everything under the framework of therapy. The PC issues (slut-shaming, the plight of a single woman) tie in with Kaira’s character. The barely-there romantic angle is but an episode of “transference.” And the interval point is sheer genius. How do you inflict a dramatic pause on a narrative that, so far, has had so little drama? With a surreal dream, of course. Only, unlike the ones in 8½ or Nayak, we aren’t required to unpack the meanings. The film does it for us. Even the lyrics take no chances: Yahan se kahan jaoon… Kahan main chhup jaoon. “Where do I go from here? Where can I hide?” It’s as clear as a problem statement in a thesis proposal. You wish, at times, for some allusiveness, some complexity – especially given the film’s length. 150 minutes is a long time to go without any real surprises.
But with Alia Bhatt around, it’s impossible not to be invested. Just look at how she plays the scene where a man who seems interested in her asks if he can come up to her house. She brushes him off, and you think she’s just trying to let him off lightly. But we sense an awkwardness that’s more than just the kind that arises from an unwanted proposal, and a little later, we realise what it is. She’s already slept with him. She wants to distance herself now. Bhatt plays this scene knowing what’s in the script, but also knowing that we don’t know it yet. It’s a cliché to call her the best actress of her generation, but she makes us keep saying it. Plus, there’s the way she looks. She’s someone you want to protect. You want her to find happiness. One part of me says this is really going to restrict the kind of roles she’s going to be able to play, that we’ll soon tire of her persona like we’re tiring of Ranbir Kapoor’s man-child. Another part says she’s so good that maybe she’ll really pull off the transition, that her greatest hits are yet to come.
KEY:
- zindagi= life
- Shandaar = see here
- Kapoor & Sons = see here
- Highway = see here
- Udta Punjab = see here
- My Name is Khan = see here
- U Me Aur Hum = see here
- Karthik Calling Karthik = see here
- Barfi! = see here
- Ki & Ka = see here
- “Bade bade deshon mein…” = see here
- kabaddi = see here
- English Vinglish = 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.
Babe The Piglet
November 26, 2016
” It’s a wonder they didn’t rope in NIMHANS for a product-placement deal.” This is exactly how I felt exact same thoughts!
You know how to put lipstick on a pig, Brangan. Too kind…
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Pavan
November 26, 2016
Rangan, what do you think of using eye-drops and tumbling chairs towards the end? Also, would you or anyone reading this would like to comment on the painful reaction of Jug during the “slut-shaming” scene? I thought it was a beautiful one, cinema wise.
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Meyyappan
November 26, 2016
You are an excellent writer, you take us on a journey after which we know, kinda of if we want to watch this or not.. more often than not your “essays” are more entertaining than the movies themselves but for godsake do not reveal so much or as ugly as it might seem to highly linguistic person like you put a spoiler tag, a simple open and close brackets or italic writing… so people who want to skip them can skip them.. even if you feel there is not much novelty to surprise at least we wont have more or less ensured and a confirmed path with 100 percent predictability rate.
Please do consider,thank you.
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brangan
November 26, 2016
Meyyappan: Thank you, but have you seen the two words just above the start of the review?
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Meyyappan
November 26, 2016
Ooops, big fail from me there but its not of much use to me or people who still want to hear from you and skip spoilers… at least the very very spoilery stuff like why she refused the proposal, that really kills a lot if you decide to watch the movie….
Thanks for the reply.
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Sharan
November 26, 2016
Apart from Alia Bhatt’s acting nothing really worked for me in the movie. It is not the lack of drama, i think they couldn’t create moments that touches you. it could be because of as you said all are stock characters, because in jahangir we could only see SRK, may be because of poor directing. This scene from good will hunting works so well even if we just see it as a stand alone scene and had not seen the movie before.
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Anant
November 26, 2016
I agree with Meyyappan. I know that there is spoiler alert warning right at the top. But many times I wait to read your review before deciding whether I want to watch the movie or not. What would be nice is to get the ‘feel’ of what you have thought about the film without knowing lot of details and if it is positive then go and watch the film and then come back and read the full review in detail. Not sure how you can do that. May be some sort of star rating scheme or simply thumbs up or down Ebert style will work.
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deepakm1989
November 26, 2016
@brangan maybe you can post spoiler alert like how it is in imdb comments.. Before and after the sentences that can be labeled spoilers just so that everybody can read the reviews without an issue.. Just a suggestion.. 🙂
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sravishanker1401gmailcom
November 26, 2016
BR : After reading the review am reminded of Salieri’s criticism of Mozart’s compositions “too many notes…”
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Aran
November 26, 2016
“Shah Rukh isn’t being Jahangir. He’s being Shah Rukh.” and “…his psychic ministrations, which sound like motivational posters made of vanilla ice-cream…” – this is what disappointed me the most. Alia on Koffee with Karan said that Gauri Shinde asked her to forget she was acting opposite Shahrukh Khan in order to get a good performance out of her; I wish Shinde had also asked Shahrukh to play a therapist and not Shahrukh Khan.
The Robin Williams comparison to Dead Poets Society seems a bit too far-fetched. Robin Williams was earnest and idealistic. Shahrukh here either smirks through his dialogues or tries to affect a whispered seriousness that smacks of ‘acting too hard’. I guess I really didn’t like him here and can see the possibilities of what could have been if he had played the character rather than the star. Perhaps there were commercial reasons – he is on the poster and the movie is partly being sold as the new pairing of Alia and Shahrukh, so I suppose he felt he needed to leave a giant Shahrukh-sized mark on the role.
The overall arc of the film and the message-yness was okay, but the smaller things didn’t add up to a coherent whole. The slow pacing (actually in the second half), some dialogues (both with the younger age group as with the Shahrukh therapy), the caricatured boyfriends (what was Ali Zafar’s singing and not speaking deal about??) – all these stuck out sorely for me.
On the other hand, the Goa setting was beautiful and refreshing, and the handling of issues was graceful – like the slut-shaming and single girl thing mentioned in the review as well as the eventual understanding about parents and their role in life. I liked that those were done with a light hand. Alia was sublime. And I really liked the actor who played Alia’s brother – reminded me of Pratiek Babbar and Genelia’s relationship in Jaane Tu…. The friend’s circle, and to an extent, the family were also sketched nicely.
But ultimately, the second half didn’t hold up very well. I guess when your first movie is as lauded as English Vinglish, it does become harder to perhaps live up to the hype.
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Anu Warrier
November 26, 2016
It’s a cliché to call her the best actress of her generation, but she makes us keep saying it.
So true! She is easily the best actress of her generation, and it is incredible how much she’s progressed in such a short while – she’s only six films old. I have watched every single one of her films (except Udta Punjab) and except for Student of the Year where no one was remarkable, I’ve found myself being wowed by her sheer screen presence, not to mention how easily she slips into the character.
As for Dear Zindagi, I thought it went on a tad bit too long, but she (and SRK) made it worth it. At least, I wasn’t sitting there saying, ‘Oh, get on with it already.’ What I do like about Gauri Shinde’s films is that the peripheral characters too get a narrative within the short time they are on screen. You get a sense of where the parents come from, why they did what they did, or who Fatima is; one of Jackie’s best scenes with Kaira was missing in last night’s viewing, but the relationship between the friends comes through so well. So does her relationship with her brother. Nothing much is said about it, but the interaction between them is so natural. I also liked the fact that she loves Kiddo to bits even though it obviously rankles that he’s (or seems to be) the favoured one.
I thought the therapy was a tad bit too pat, and offered very simplistic solutions – the sort you see on motivational posters, but the scenes themselves worked for me, simply because of Alia and SRK. Her vulnerability/repressed emotions, his visceral responses/non-judgemental acceptance invested those scenes with more depth than the script offered.
Finally, glad to see SRK play his age, unabashedly. I liked his portrayal quite a bit.
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Aran
November 26, 2016
Sharan, I was about to mention Good Will Hunting too, but forgot because of all the other thoughts crowding my head about this movie. 🙂
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Shalini
November 26, 2016
The sub-heading of the review – “overlong, a tad simplistic, but buoyed by great performances” is a perfect summation of Dear Zindagi. This was my first Alia Bhat film and first SRK film since CDI and I was braced for disappointment but really liked both of their performances. I thought SRK’s star presence brightened a film that otherwise might have slid from pleasantly languid to dully self-absorbed. As for Alia, this may sound facetious, but I was really impressed by how well she cries. Especially liked and identified with the nose pinching behavior. I think Meena Kumari would have approved. 🙂
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Anurag
November 26, 2016
Great review brangan. I thot this movie worked for me and should work for majority despite some critics disliking it solely because of the same reasons. Playing stars and not characters sometimes works big time for the masses. The greatest hits put together thing about Alia and SRK delivering style of being like on any of his making of interviews is actually working in keeping people engaged. Or I thot so. Despite its shortcomings in its craft, i felt there is a very good positive vibe that should spread well.
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Anu Warrier
November 27, 2016
Especially liked and identified with the nose pinching behavior.
@Shalini: 🙂 I was just saying that to my husband today when discussing the film (he didn’t watch it). It just seemed so natural the way she did it.
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MANK
November 27, 2016
I found myself simultaneously itching for something to happen and grateful that film was content to just drift along, with characters bobbing like corks on a tranquil lake. *
Brangan, my sentiments exactly. Whatever one thinks of Gauri shinde as a filmmaker, i would say this , she is some kind of an effing genius, to make a 2 1\2 hr long film with no high drama, no major twist and turns, none of the major commercial ingredients and still make it work. i was riveted throughout. And yes the interval point was a stroke of genius. And it wasn’t done just for the effect of it, it adds a lot in exploring the psyche of Alia
This film reminded me a lot of Richard linklater films especially the ‘Before’ films. i liked how the initial scenes were set up, each adding bit by bit to Alia’s persona and her environment. i am surprised that you didn’t go on and on about the writing especially the dialogues, they were just superb and on par with Linklater.
So were the performances , completely spontaneous and natural. Alia is of course just terrific. I would say that SRK struggles a little – particularly in the earlier portions – to find the right beat for his character, between playfulness and seriousness, but eventually, he does settle in to the role comfortably. And if this is what you call his superstar performance , i wish he would give more of these. completely devoid of his trademark whimpering and stammering, his presence does give the film the heft and gravitas that it required. The film wouldn’t have worked without him. as the psychiatrist is less a character and more of a presence, a symbol. a kind of deus ex machina who appears to redeem Alia from her inner demons
And agreed that much of it is on the surface, that it doesn’t cut too deep, whether its the characterization or the issues portrayed in the film. but to go by the philosophy of the film, sometimes its more appropriate to take the easier route to achieve the goal than the difficult one and it seems that Shinde has followed this philosophy to heart in the making of the film as well and it pays off beautifully
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the brangan fan
November 27, 2016
sir,
but the spoiler alert is just two tiny words,like paresh rawal says in oh my god!(and your most spoiler-inflicted reviews are the srk movies, the most prominent being rab ne bana di jodi)
but nevertheless, your reviews matter more than the films themselves
in fact, if i see the film and then read your review, the film acts a a spoiler for the review.
i think the best method is to read your review, watch the movie, and then read your review again!
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brangan
November 27, 2016
MANK: And if this is what you call his superstar performance , i wish he would give more of these.
No, I didn’t mean superstar performance. I just meant good, old-fashioned star-power. It worked for me that he wasn’t being subdued and “in character” like everyone else. The film needed this tonal contrast, this jolt from its woozy eventlessness. I really enjoyed watching him here.
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thethinktin
November 27, 2016
Well, that is it then.. Meyyappan under a registered account, if we are interested in a movie.. its better to read his last paragraph of words and then decide if to go for it and after words we can have his full thoughts, post movie.
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MANK
November 27, 2016
Brangan, ok i get it. that was what i meant too. This cannot be a character actor playing the character of a Psychiatrist. this has to be a star\actor with an aura and heft that would give the film a different dimension. someone that you are convinced that Kaira can\would look up to. thats what keep the proceedings interesting, otherwise the film would have turned bland and uninteresting in no time. SRK is very well cast ( for once 🙂 )
I felt the film was very autobiographical. The character of Kaira is so well fleshed out and her interactions with her friends and family feel so real that i had the feeling that there was lot of Gauri shinde in Kaira. they have pretty much the same profession – Kaira is a photographer, Gauri is a director – and much of the insecurities that stem from it seem directly ripped from her real life
The film benefits a lot from having a women at the helm of things IMO. Usually when male filmmakers create women characters, however well developed and real they appear, there still seem to be a hint of artificiality, particularly for a film made in the mainstream commercial format. i didn’t feel that at all here with Kaira. she is quite a unique creation for a hindi commercial film. also a lot of Shinde’s directorial choices. like the scene where Kaira is discussing her trip to Goa with her friends and and complaining about spending time with her family, Shinde cuts to the maid – packing her luggage – and her reaction to the goings on, or the progression of the therapy sessions, how Keira chose to reveal herself bit by bit. all of it seem to have a feminine POV,
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dracarys
November 29, 2016
just watched this movie…i think, Alia has a strange connection to Ranbir Kapoor!
He chooses roles where the protagonist refuses to grow up (child/teen-trapped-in-a-man’s body) and Alia is kinda becoming a perfect fit for a role of woman-trapped-in-a-teen’s body!
Any connection to their respective fathers????? 🙂
Yup, she is in her early 20’s. But her beautiful/innocent face mask her acting which is really good for her ‘age’.
This is such a mature role for a 30+ woman which could easily fit a Deepika/Priyanka…
Donno why, but i was reminded of a predictably engaging Shahid’s 2nd film, Fida while watching this. Here too, it was mature role for Shahid but not-so-well acted…
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Sifter
November 29, 2016
It jarred when that damn chair creaked at the end…and that jarring still remains. That was such a let down!
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brangan
November 29, 2016
So any theories about the eye drops? 🙂
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Vimmuuu
November 29, 2016
@ brangan : Maybe they will make a spin off on SRKs character.His background…His failed marriage…His relationship with his son…blah blah. And, by the time, he gets his son back, he turns blind due to gloucoma 😛 😛 😛
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thethinktin
November 29, 2016
Eyedrops were probably just added to add more of the grounded tone the movie was going for,to show shahrukh as not a gandalf but another human just living his life too in the film.
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MANK
November 29, 2016
Brangan, i think the eye drops are a mere ploy by JUG to camouflage his tears . 😀
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Subhash
November 29, 2016
@brangan I have three. Having watched the film again, I’ve begun to feel that the eye drops were nothing more than an indication that Jug was a good old man (read ageing man) who needs some medical assistance and is not embarrassed about using them. In a way, in the larger scheme of things, this can be termed an example of how Jug is as a therapist who does not have any prejudice on his and others’ actions (like how others feel when they see “me”, an otherwise healthy man using eye drops, would that make it look like a flaw of mine?) Second is, just a character quirk. Third (and sort of most agreed) that he his hiding his tears and wants her to be a part of his life.
But, while thinking about the third, I felt like asking something. Like many reviewers were saying, is Kaira’s act in Jug’s final scene really a case of misguided romantic feelings? I felt that their bond was more platonic. I mean, going through all their portions, why can’t one assume that Kaira wanted Jug to be her buddy or an uncle-like figure with whom she can spend quality time with, or a father-like support system with whom she wanted to share her issues with and seek advice? Like that person whom she desperately needed in her childhood and the one who help her overcome a potential nervous breakdown.
I have similar views on Jug as well. A divorced man with a child whom I assume is not in contact with him (otherwise, why would he say that his son should have something good to say with a therapist at the beach “kabaddi” scene). He might have developed a platonic bond with Kaira which cannot exist because of his professional reasons. His concern towards Kaira in the chair philosophy and flashback telling scene, they say something more than a therapist investing his interest in a patient; it feels somewhat personal. When he sits in the chair and it creaks, he simply smiles as if he is accepting loneliness. Doesn’t it resemble the feelings Rajinikanth had on Rythvika in Kabali? I definitely feel so that their feelings were not romantic, but more of a godfather-godchild kind. Anyone including Rangan can comment. No reply every time does suck for sure. isn’t it?
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MANK
November 29, 2016
Well i watched the film a second time and i liked it a tad less than the first time. But i liked Alia’s performance even better this time around. some of the nuances that i had missed in my first viewing were noticeable now. Its truly an amazing performance. it got me thinking about the evolution of the hindi film heroine in the last 10 years. 10 years ago we hardly had an actress of substance, just a bunch of beauty queens topped off by the wildly inconsistent Kareena Kapoor. she was good in the odd JWM or Omkara , but terrible in other films. even 5 years ago, except for brief burst of Vidya in Kahaani and Dirty picture or Priyanka chopra in a few films, the situation was no better. Again neither Vidya or Priyanka are spontaneous natural performers, they are more methodical. but how quickly the landscape has changed. now we have 3 incredibly spontaneous , born for the screen actresses in Anushka, Alia and Parineeti who keep raising the bar with each performance. even Deepika and Sonam, who were rather stiff and wooden in their earlier stages of their career have begun to ease out and become more comfortable in their roles. Not to forget the biggest turnaround story of them all – Kangana Ranaut . but its the troika of Anushka-Alia-Parineeti that amazes me the most, the speed at which these actresses have grown – within a span of 3 or 4 movies -is just amazing
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Dracarys
November 30, 2016
Brangan, I guess the obvious explanation for eyedropper is that, jug is wearing contacts or had laser eye surgery done as in both the cases, the eyes could become dry.
However under Anurag Kashyap’s direction, this movie could have been a supernatural thriller!!!
And SRK playing a ghost visible only to Alia!!!
If you would have noticed, most of his interactions are only with her!!! 😎
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P
November 30, 2016
I watched it last night. It was really lovely. Really.
There were some moments that made me cry. And surprisingly for an SRK film a lot of them were Alia’s doing! What a lovely actor she is.
And my SRK- hot, handsome, sexy forever. I would fall in love with him too, if only he were my therapist! 😉
Loved that the chair creaked for him after she left in the end. It creaks only when you like someone 😉
Also the eyedrops I think are Jug’s technique it seems like to give people a moment, while not making it obvious.
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MANK
November 30, 2016
SRK- hot, handsome, sexy forever, really ?, in this film , his face is covered with a beard, so that covers up a lot of aging defects. otherwise i think SRK has aged very very badly. especially in relation to the other Khans. i am not discounting Botox, cosmetic surgery , hair transplant vagera vagera that all 3 must have gone through, but he looks the most aged among the 3. It seems that all the chain smoking, drinking and non stop dancing at weddings has taken its toll on him
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Pavan
December 2, 2016
@MANK : Right, but perhaps that made him the ideal choice? A not-so-young, wise and weak-looking therapist with an effortless charm. As KJo said, SRK is surely in a career metamorphosis phase while Salman and Aamir are still crowdpleasers (they still can be).
@Dracarys : Most indeed. But, if he was to be a ghost, surely the chairs at the conference wouldn’t have been four and the children using his “specialised” glasses and other artworks too would be ghosts. Moreover, Google would have announced his death date when Alia makes a search. Having said that, I like your idea of a ghost helping a woman overcome her issues. Reminds me of Pissassu (feel free to disagree)
@Subhash : Well, I can’t comment on platonic bonds but what Kaira experiences in the end is a sort of transference. That transference can be anything as you pointed out: godfather, uncle, BFF, adviser, friend, possible romance… anything. And him patiently and gently rejecting it was nothing strange or wrong.
I get your point of godfather-godchild connection but Kabali and Dear Zindagi are different. Kabali’s issue is death, and hence when he meets Meena, he feels that my daughter or son if alive might have been this old. It is a case of “I have none, can she be my baby?”. Jug’s son is alive and kicking, they know each other. He does not have such easy going ways though he arguably might have found a daughter in Kaira. Who knows? Shinde?
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An Jo
December 5, 2016
There are only 2 scenes in the move that stood-out to me. One is Kaira’s outburst when man-bun Mr. Raghuvendra shows up at her friend’s Goa residence; second, the final therapy session with SRK’s Jahangir Khan. Shinde deserves all the accolades for the final therapy scene. It is a remarkably conceived and shot scene when Kaira wants to have a relationship with Khan outside of the professional boundaries. Shinde fantastically conveys ‘transference’
[http://www.wisegeek.org/what-is-transference.htm]
in the scene and seems to be influenced by the brilliant HBO series ‘IN TREATMENT.’
[https://youtu.be/fUpiNh7sTkE].
It’s a team effort and each one shines; SRK with his acknowledgement and his awkwardness {Paul Weston too is going through a difficult marriage} and Alia through her transference buried in her conviction that she is actually in love with her therapist.
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Alpa Cheenu
December 5, 2016
God gave K Jo Alia Bhatt and guess what, he made ‘Student of the year’ with her :0
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Radhika
December 17, 2016
I was worried that:
a) SRK would turn out to have either glaucoma or a brain tumour that was eating his eye and that would be the pathos filled realization that would make Kaira turn into less of a brat
b) that the car would crash and Kiddo would die and her parents would say – why couldn’t it have been you
c) that she would fling herself at SRK who would have a Lolita moment and succumb
All in all, i an deeply grateful that none of those happened
The movie had its charming bits but the overall tone was that of a well made advertisement by the Indian Psychologists Association to demystify the concept of therapy. So much exposition, so much explanation, so much epiphany neatly underlined by the lyrics in case her ecstatic epiphanized expressions werent semaphoring her newly attained insights. sigh.
The worst part was the short film made by her. We are to assume that this amazingly talented person, who has been itching to do her own short for aeons came up with this gook that sounded like a Mills and Boon set in Panjim?
AB is a good actress, but I think she may get trapped in these manic-with-a-touch-of-brave-melancholia pixie roles.
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purvathakkar
February 6, 2019
This is one of the most amazing reviews I have ever read! I am reading this after few years from the release of Dear Zindagi (2016) but I literally time-travelled while reading this fabulous write-up.
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