Black - Bollywood

With a curious title and a suprising star cast, this movie has given rise to interest from the day it was launched. Slowly, we got to hear what the movie is about. Now, as one of the most expected movies of this year, it is out. Even rave reviews are out.

The story is heavily inspired by the life of Helen Keller. It traces the life of a deaf-blind girl from childhood to when she achieves something in life, aided by her eccentric but inspired ’teacher’. The movie makes us aware of the various pains such people and those around them go through.

That Bhansali is a master of visuals is a well-established fact, which is only proved yet again here. While it jarred in comparison to the story in Devdas, there is no such problem here. Dark settings (and later very bright ones), open spaces and less number of items in a frame all take us into the world of the protagonist. Another focus of his has been emotions, which is again beautifully brought out. Mother, sister and teacher -- these relationships are described with subtlety.

The screenplay sustains viewers’ interest mostly, considering that there are no songs. [No songs in a Bhansali movie -- can you believe that?] The flash-back-and-forth might be a bit of a speed-breaker. A plethora of English dialogues, though not uncommon in an Anglo-Indian family, along with a complicated name (Michelle McNally!) might hinder the average Bollywood audience relating to the movie. These are the film-maker’s known obsessions and have to be put up with.

Symbolisms are ample, waiting to be picked up by the discerning audience. A personal opinion is that having a narration track in Mukherjee’s voice reduced the impact of the movie.

If you thought the movie was all about Bhansali, you’re wrong. It’s not about Rani either. Bachchan, in one of his best roles ever, gives an astounding performance. Absolutely deglamourised, he is totally one with the character. Terrific underplaying makes it extremely difficult to spot the Bachchan inside the Debraj Sahai. Mukherjee does quite well too, capitalising on the part she landed at a good time of her career. The Kapur kid is promising. Patel and Chaterji provide unfamiliar faces but very effective support. Sen looks good, but doesn’t have much to do.

Monty who impressed in the director’s previous venture, does a good job of the background score here too. Cinematography by Ravi K Chandran (Dil Chahta Hai, Yuva) is in tandem with the film-maker’s ideas. Costumes are perfect without standing out while the make-up also comes good.

Despite technical superiority and focussed narrative, Bollywood influences creep in now and then. The movie is a commendable feat nevertheless, helping Bhansali win back fans who went away after his previous ’magnum opus’ dud.