First things first. On the reviewer's prejudices and preferences
I think Ranbir is the best emotive 'Actor' in 4 generations of Kapoor clan, including the venerable Raj Kapoor – one of the best film makers the world might ever see. Karan Johar as a film maker has never produced a 'bad' product, even if he doesn't aspire for landmark cinema. Pritam has once again produced track of the year, beating ARR fair and square. That coming from a sworn ARR fan, puts me far from a Pritam detractor. Not to mention a very credible Anushka, Aishwarya and a tech team that KJO can muster, I cannot be blamed for a high expectation from this Diwali release, advertised and reviewed as the 'top tear jerker' by KJO. Well if a Kapoor scion tweets – '"This is your tribute to Raj Kapoor & Yash Chopra films! Romance,Music and intensity." it is only fair that I expect elements of a Sangam and a Kabhi Kabhi, amalgamated and re-presented to the millennials. Alas, that was not to be! Spoilers ahead, if you care to read
The high pitched Arijit melodies flooding your living rooms and cars for over a month, titillate you with what drama and tragedy might precede the overflow of emotion expressed by a brilliantly brilliantly shot RK in front of the mic. And pull off he does! Going from the aimless, to the involved, to the indifferent, to the despondent he is at the top of his game so masterfully displayed in the earlier Tamasha or Rockstar. In Anushka's ably acted heart-broken turned bubbly turned serious turned heart breaking role, Ranbir also has the perfect muse for the unrequited love – popularized as the 'self suffered' theme by KJO. Aishwarya as the gorgeous distraction, forming the Chopra-ish triangle is as good as she should have been, while the 3 Fawad scenes that created cross continental strife are also very well executed.
However all this brilliance in performances, in quintessential Yash Raj-ish music, in trademark production values, all still combines to produce a Vikram Bhatt caliber modern emo-drama that just projects itself in the big league because of all the ingredients, but stops disappointingly short. And what ingredients man, if a crooning agonizing RK in front of the mic wasn't enough, there's brilliance in some wedding scenes, elaborate poetic lines, a fantastic dinner table tripartite conversation reminiscent of the Sangam/Kabhi Kabhi eras, a lovy dovy cancer striken death bed of KHNH proportions, an Aashiqui-esque airport chase. You think of a Bollywood tear-jerker ingredient and KJO has packed it in a 2.5 hr script like a thoroughly entertaining T-20 match, not a heart stopping one-day-international and far from a poetic skill full test match.
The 'clinical superficiality' with which the deep relationships are narrated makes you feel painful, not for the emotion but for the potential that was never converted. You keep thinking of the gear switch, where a scene will have you awe-struck but it never comes. As I write this, I airplayed the Hum Dil De Chuke Sanam title track, just to verify if it gives the goose bumps that it did 17 years ago . Open it in the other browser window, to see what a frantically laughing Salman Khan running across a bridge can convey through the poignancy of the scene. Or an SRK staring at the NYC skyline with Sonu Nigam's best song and a mesmerizing piano track in background.
Unrequited love could never have been a new Bollywood story, from a Devdas 80 years ago to last year's Bajirao, they all have that theme in various flavors. But my dear KJO if only brilliant performances, music, shots would make a classic they would never fill the screenplay/writing column in the table! In the name of subtlety and the matter-of-factness, Karan has robbed the genre of its only consistent element, the tear-inducing tragedies. If that's your thing watch a repeat of any of your favorites, heck even KJO's past movies. If you want to see how relationships might transform to, in the T-20 age of facebook and watsapp, or just watch the best alternative to Shivaay this weekend, go rush for ADHM.
The high pitched Arijit melodies flooding your living rooms and cars for over a month, titillate you with what drama and tragedy might precede the overflow of emotion expressed by a brilliantly brilliantly shot RK in front of the mic. And pull off he does! Going from the aimless, to the involved, to the indifferent, to the despondent he is at the top of his game so masterfully displayed in the earlier Tamasha or Rockstar. In Anushka's ably acted heart-broken turned bubbly turned serious turned heart breaking role, Ranbir also has the perfect muse for the unrequited love – popularized as the 'self suffered' theme by KJO. Aishwarya as the gorgeous distraction, forming the Chopra-ish triangle is as good as she should have been, while the 3 Fawad scenes that created cross continental strife are also very well executed.
However all this brilliance in performances, in quintessential Yash Raj-ish music, in trademark production values, all still combines to produce a Vikram Bhatt caliber modern emo-drama that just projects itself in the big league because of all the ingredients, but stops disappointingly short. And what ingredients man, if a crooning agonizing RK in front of the mic wasn't enough, there's brilliance in some wedding scenes, elaborate poetic lines, a fantastic dinner table tripartite conversation reminiscent of the Sangam/Kabhi Kabhi eras, a lovy dovy cancer striken death bed of KHNH proportions, an Aashiqui-esque airport chase. You think of a Bollywood tear-jerker ingredient and KJO has packed it in a 2.5 hr script like a thoroughly entertaining T-20 match, not a heart stopping one-day-international and far from a poetic skill full test match.
The 'clinical superficiality' with which the deep relationships are narrated makes you feel painful, not for the emotion but for the potential that was never converted. You keep thinking of the gear switch, where a scene will have you awe-struck but it never comes. As I write this, I airplayed the Hum Dil De Chuke Sanam title track, just to verify if it gives the goose bumps that it did 17 years ago . Open it in the other browser window, to see what a frantically laughing Salman Khan running across a bridge can convey through the poignancy of the scene. Or an SRK staring at the NYC skyline with Sonu Nigam's best song and a mesmerizing piano track in background.
Unrequited love could never have been a new Bollywood story, from a Devdas 80 years ago to last year's Bajirao, they all have that theme in various flavors. But my dear KJO if only brilliant performances, music, shots would make a classic they would never fill the screenplay/writing column in the table! In the name of subtlety and the matter-of-factness, Karan has robbed the genre of its only consistent element, the tear-inducing tragedies. If that's your thing watch a repeat of any of your favorites, heck even KJO's past movies. If you want to see how relationships might transform to, in the T-20 age of facebook and watsapp, or just watch the best alternative to Shivaay this weekend, go rush for ADHM.