Another much-hyped, much-awaited, superstar-studded movie hit the screens last weekend. This time, it was a retelling of a story told several times already, not very common in Bollywood. The tragic love story of the man synonymous with heart-break needs no elaboration.
Bhansali, loaded with the challenge of distinguishing his movie from the earlier versions and at the same time needing it to appeal to a whole new generation, opts for grandeur. But what seems to have happened is that he has got so obsessive with it that it assumes the proportion of a separate overpowering entity in the proceedings, killing the story, the stars and all the emotions along the way. Towards the interval of the movie, one is just gaping at the massive sets and rich costumes, while the familiar scenes become mere formalities.
Khan, as in Asoka, tries to rise above his on-screen image, with some success, particularly in displaying sadness. Rai doesn’t have too much to offer beyond what she did in Hum Dil De Chuke Sanam . But it’s Dixit who walks away with the top acting honours with her underplayed Chandramukhi, though her part is comparatively short. Kiron Kher delivers a stunning performance in one scene that is hers. Quite a few actors like her are wasted in small roles.
The art direction (Nitin Chandrakant Desai) is possibly the best ever seen in Indian movies, while the cinematography (Binod Pradhan) shares a memorable partnership with it. This is yet another Bhansali musical with good quality music (Darbar) and dance. Monty’s background score is average, but irritating while trying to reinforce the already monstrous grandeur in the minds of the audience.
The liberal deviations from the original story might become another dampener. A few interesting sequences and dialogues show what this movie could have been. It’s painful to go to watch a classic Indian tale and end up being lost in the splendour.