True it is a very old story, but the movie is done with class this time. The thing is it couldn't avoid the weak effect eventually.
The "class" side; (Rani Mukherjee) gave a fine performance. (Konkona Sen Sharma) was unforgettable too. The cinematography made a colorfully dazzling image. The directing showed sensitive eye with smart vitality while being so rational as well which's something I don't meet everyday in the Indian cinema. One of the songs, about transforming into a prostitute, was distinctly made; using shots for; spider's web, broken mirror, etc. that embodied the feelings of the lead at the moment in rare expressional way; being the most important thing this movie has.
Now, the "weak" side; (Abhishek Bachchan)'s performance. And the character he played didn't help him as it was badly written (a lover boy who wears chic suits, NOTHING MORE!). Which leads us to that script. Annoys me much the way that the third act was written; OK, the heroine is someone, driven by bad circumstances, turns into a prostitute, to separate from her family, which she supports, hiding her ugly truth. Now when her sister knows, she forgives her. When her mother knows, she forgives her. And when her lover knows, he - guess what - forgives her too and in one of the worst scenes I have ever seen in my life!
Before thinking that that is so-easy-it's-provocative, then take a look at the other conflict; concerning an evil guy who wants to control the land of the heroine's father. It finishes ridiculously in just one laconic moment, with (Abhishek Bachchan)'s character along with his brother putting their hands on that guy's shoulder, which ends the movie suddenly!
The old Indian cinema could deal with the same material in totally opposite way; overdone melodrama, loud tone, and sure big fight at the end where the 2 grooms beat up (Prem Chopra) or (Amrish Puri) or whoever used to vex the leads back then! As you see, we have one cinema that mostly doesn't know how to be moderate. So it's whether hot-tempered, or just cold!
There is a nice scene in which the sister knows about her sister's job under the rain. That was effective. However, some scenes were, while nicely shot, highly predictable, and so reused from older movies; there is always an evil man who knows about the prostitute, blackmailing her for not telling her lover, her family, asking for big sum of money.. etc. It's obvious by now that this is a movie where the problem is mainly in its script, not its direction or else.
One very interesting point I must refer to. Remember how the character of the mom knew about her daughter's situation only by her heart, as if she has a telepathic relationship with her, being discerning when it comes to the fate of somebody she loves. These spiritual matters, supernatural for others, is so usual and natural not only in India, but in the eastern societies. I even believe that most of the moms got it. It's just the Western cinema that doesn't respect, or at least care much, about that in the first place.
While being not the extravagantly hard melodrama, it wanted to be different, as merciful and so easy; however to the extent of being extravagantly easy melodrama. So yes, it's fair show of colors and symmetry. But don't wait much from its drama. It can sum up one of the top dilemmas of the modern Indian cinema; where the irony is always on between tasty surface and weak substance.
The "class" side; (Rani Mukherjee) gave a fine performance. (Konkona Sen Sharma) was unforgettable too. The cinematography made a colorfully dazzling image. The directing showed sensitive eye with smart vitality while being so rational as well which's something I don't meet everyday in the Indian cinema. One of the songs, about transforming into a prostitute, was distinctly made; using shots for; spider's web, broken mirror, etc. that embodied the feelings of the lead at the moment in rare expressional way; being the most important thing this movie has.
Now, the "weak" side; (Abhishek Bachchan)'s performance. And the character he played didn't help him as it was badly written (a lover boy who wears chic suits, NOTHING MORE!). Which leads us to that script. Annoys me much the way that the third act was written; OK, the heroine is someone, driven by bad circumstances, turns into a prostitute, to separate from her family, which she supports, hiding her ugly truth. Now when her sister knows, she forgives her. When her mother knows, she forgives her. And when her lover knows, he - guess what - forgives her too and in one of the worst scenes I have ever seen in my life!
Before thinking that that is so-easy-it's-provocative, then take a look at the other conflict; concerning an evil guy who wants to control the land of the heroine's father. It finishes ridiculously in just one laconic moment, with (Abhishek Bachchan)'s character along with his brother putting their hands on that guy's shoulder, which ends the movie suddenly!
The old Indian cinema could deal with the same material in totally opposite way; overdone melodrama, loud tone, and sure big fight at the end where the 2 grooms beat up (Prem Chopra) or (Amrish Puri) or whoever used to vex the leads back then! As you see, we have one cinema that mostly doesn't know how to be moderate. So it's whether hot-tempered, or just cold!
There is a nice scene in which the sister knows about her sister's job under the rain. That was effective. However, some scenes were, while nicely shot, highly predictable, and so reused from older movies; there is always an evil man who knows about the prostitute, blackmailing her for not telling her lover, her family, asking for big sum of money.. etc. It's obvious by now that this is a movie where the problem is mainly in its script, not its direction or else.
One very interesting point I must refer to. Remember how the character of the mom knew about her daughter's situation only by her heart, as if she has a telepathic relationship with her, being discerning when it comes to the fate of somebody she loves. These spiritual matters, supernatural for others, is so usual and natural not only in India, but in the eastern societies. I even believe that most of the moms got it. It's just the Western cinema that doesn't respect, or at least care much, about that in the first place.
While being not the extravagantly hard melodrama, it wanted to be different, as merciful and so easy; however to the extent of being extravagantly easy melodrama. So yes, it's fair show of colors and symmetry. But don't wait much from its drama. It can sum up one of the top dilemmas of the modern Indian cinema; where the irony is always on between tasty surface and weak substance.