saawariya reviews - Page 4

woowww i loved the last review from bollywodworld... beautiful review

Originally posted by: bollywoodcrazed

This film is definately getting mixed reviews, I still plan to watch it though. I like to judge the film for myself 😳

exactly, Believe in your own judgement..I do and therefore I want to watch it...but I really do hope I dun becum damn disappointed...😳

BHANSALI'S IS A VISUAL MASTERPIECE

By Satyajit

Critic's I-view

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Sanjay Leela Bhansali, the name itself epitomizes the pinnacle of immaculate style in modern Indian cinema with an unparallel exuberance that one can anticipate on big screen. Besides his immaculately pristine visual perception, his films have always been high on emotional quotient and have often forayed into human relationships with great emotional depth in a backdrop of aesthetically sketched out cultural embellishments.

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Exotic and platonic to the core, 'Saawariya' foretells the tale of two lovers in a backdrop of larger than life scintillating surroundings. It has been set in a palette of blues and greens in all its frames and scenes with the reflection of the shades on the paved floors, pavements, streets, bars and rooftops in making it a desired dream world to aspire. Like all his previous visual spectacles, it's a story of a lonesome man who fades away in the moonlight on the deserted streets that reflect the poetry in motion? Despite all its lavish spectacles in all frames, Bhansali dares pitch in a realistically painful and sad love story to conservative Indian audiences with two unknown faces in author backed lead roles.

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Bhansali being an ardent "literature aficionado" inspires this four nights love saga from the famous works of Fyodor Dostoevsky's short story - "White Nights". After 'Devdas' (inspired from Sarat Chandra Chatterjee's famous novel "Devdas") and 'Hum Dil De Chuke Sanam' (inspired from Bernard Shaw's "Candida"), this stunning sentimental is a great inspirational lift from Fyodor. "White Nights" was first adapted to film by the acclaimed Italian director Luchino Visconti and later by French director Robert Bresson as 'Four Nights of a Dreamer'.

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This eighteenth century heartwarming story is about love, dreams, happiness, and loss. The main character of 'Saawariya' (Ranbir Kapoor) is a dreamer and romantic to the core, much like Dostoevsky's lead character. Bhansali's well crafted narration makes him fall in love with the mystical charm of depressed and isolated girl (Sonam Kapoor), much like Dostoevsky's "Natenska", with great visual aplomb.

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First, let's get straight into theatricals before looking at its technical finesse and musical brilliance. Bhansali's 'Saawariya', an artistically sketched sad love story, opens up in a fairy tale town where narrator (Rani Mukherjee playing prostitute "Gulab") correlates her heart-felt sentiments about his beloved "Saawariya". This "Saawariya" is a happy go lucky bar singer Ranbir Raj (Ranbir Kapoor). It is on this special evening when he sings his most beloved track to her, showcasing his zest for real love and optimism in life. The film now swivels into an opera styled narration where Raj meets isolated young girl Sakina (Sonam Kapoor) in the night. It was a delightful night where he meets her on the bridge and then follows her.

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The friendship blossoms and finally they exchange their identities and experiences with each other. Raj has disciplinarian landlady - Miss Lillian (Zohra Sehgal) while Sakina lives in the shadow of her old grand mother (Begum Para). Sakina's painful experience of meeting with her tenant Imaan (Salman Khan) and then facing isolation proves to be a shocking occurrence to Raj. Initially, Raj thinks that's it's a crafted story but finally realizes its authenticity. It ends up on a distressing note where Sakina chooses her love interest (Salman Khan) over her best soul-mate (Ranbir Kapoor). In between, there are episodes where Ranbir burns Sonam's letter, Sonam falls in love with Salman and Ranbir takes refuge into Rani's home. The striking feature of the film is its beautiful cinematic depiction rather than its conventionally placed author backed narration lifting the standards of contemporary commercial Indian cinema.

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'Saawariya' has great aces up its sleeves and the film can simply be adjudged as one of the finest visual treats that have ever visited Indian cinema. The film has picturesque backdrop of blue and green color palettes in which the delightfully vibrant town is painted. The creation of larger than life Buddha on the lake side, buzzing streets with colorful neon signs, walls painted with peacocks and lotuses, RK logo featuring on bar, silent bridge to silence water where it rained and snowed as the seasons changed were breathtaking visuals that make it big on-screen visual treat.

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The significant bell and the town facing visuals where girl (Sonam) correlates her estranged love saga are visuals of international standards. The film has rich Mughal cultural impact where moist walls, crystal chandelier, pink and purple lotuses and a mirror mosaic staircase picture magical spells. Finally, the last visual frame has deepening of attractive blue and green shades where snow falls over the bridge with the beautifully carved boat below, hooked to the bank, depicting the innermost sentiments of a distressed beloved. It speaks out volumes about the painful suffering of dreamer "Saawariya" when her love falls into his beloved's arms. It was an impeccable experience as the sentimental hues of Monty's brilliant music were infused in such beautiful surroundings as to evoke sympathy for this lovable dreamer. Bhansali is a winner! Art directors - Omung Kumar and Vanita - deserve to be applauded for conceptualizing Bhansali's visionary outlooks into such a magnanimous town with all vibrant colors and shades.

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Ravi K Chandran (Cinematographer) proves to be another big ace for this dreamer's lost paradise saga. His crafted lightening effects made actors into artistic shades in their physical appearances during changing phases of the story and situations. 'Saawariya' has exclusively been shot indoors and is the story of four nights and every night carries distinctive appeal in its breathtaking visuals. It was first time in Hindi cinema that there was usage of space lights that gel well with CT Blue to deliver a cool night feel to give the feel of "sanvla" color of "Saawariya" (synonym of Lord Krishna). On the contrary, the film has dark unlit quality for the night that every scene looks like a silent painting rather than a regular visual. It's indeed a big leap in technical section of Hindi cinema and it's a rare occasion when the style has superseded substance in a big way.

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Costumes (Rajesh Pratap Singh, Reza Shariffi, and Anuradha Vakil - Costume Designer) have lived up to the occasion in almost every frame of the film. From designing Mughal costumes for (Sonam Kapoor, Salman Khan, Begum Para), Anglo Indian (Ranbir Kapoor), Colonial British (Zohra Sehgal ) and Hindu costumes (Rani Mukherjee) in different colorful shades and designs, it has been perfect indeed.

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Monty Sharma's music and background score is soulful visual melody and poetry that works logically with the pace of the film. The complete musical show was spectacular, both in harmony as well as in visuals. The soundtracks like "Saawariya", "Jab Se Tere Naina" and "Yoon Shabnami" have already been big chartbusters and there is much to follow in coming days. Dialogues and screenplay (Prakash Kapadia and Sanjay Leela Bhansali) are modest, gratifying and fulfill the emotional quotient of the film.

Debutante Ranbir Kapoor and Sonam Kapoor prove to be worthy newcomers and can be counted for awards in the best newcomer's category this year. Ranbir shows flair of being a good actor and emotes appreciably in depicting all sentiments of his character. His flashy costumes coupled with his alluring physical appearance make him perfect choice for the role. Sonam Kapoor delivers a modestly scripted charming role of a demure girl that requires loads of perseverance, determination and flair. She delivers a perfect look and matches well with Ranbir's spontaneity in every frame. Rani Mukherjee is brilliant once again and lives up to the high standards. Salman Khan essays a brief but pivotal role and maintains his perfect track record with the director Bhansali. Zohra Sehgal is a revelation again after her impressive performance in 'Cheeni Kum' while Begum Para lives up to her character with desired dexterity.

Commercially speaking, Bhansali's 'Saawariya' will be opening to modest houses as compared to SRK's 'Om Shanti Om' but will positively be going up in coming weekends. It's likely to be one of the biggest grosser of this year but will have to battle out for supremacy at the box office with 'Om Shanti Om'.

All credits to Sanjay Leela Bhansali and his cast and crew for showcasing their consistency and precision in conceiving another visual spectacle with an unconventional theme! After soulfully conceived 'Black', this film promises to be another winner in all segments of cinema, so have a nice weekend with a film that boasts high standards of quality work in Indian cinema.

Great Job!!

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Movie Review : Saawariya
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By Martin D'Souza, Bollywood Trade News Network

Saawariya is an Indian cinematic experience of rare brilliance. Either consciously, or unconsciously, director Sanjay Leela Bhansali has let the influence of Baz Luhrmann's Award winning movie, Moulin Rouge take over his being.

The sets are top class, the lighting absolutely brilliant and there is a prop in every frame that never looks out of place. The music is simply scintillating complemented with heart touching lyrics. The choreography is of international standard. Never have I seen such poetry in motion on Indian screen. Every dancer is in sync. Every movement matches the mood of the music and every expression complements the lyrics. The costumes have to be seen to be believed. Top it with performances worthy of applause and you leave the theatre humming the title track. Yes, the end too is not what was expected. There's also a loser in love. But Saawariya is a winner

Full marks to Sanjay Leela Bhansali for treading the musical path to weave a sincere love story. Like an excellent music conductor, Bhansali waves his baton, to squeeze up a fine performance from his cast. Absolutely flawless. The actors follow the flow of the baton and the master conductor must be pleased with his symphony. My fear is that his movie will sweep up a number of awards in the coming year.

The freshness of Ranbir Kapoor and Sonam Kapoor takes this symphony to another level and keeps it there. Both actors give of a splendid performance. Ranbir is a great dancer and an excellent actor. He comes across very confident of himself in whatever he does. If you look intently, one can see a streak of his grandfather, the legendary Raj Kapoor, in his mannerisms.

As for Sonam, she matches Ranbir, step for step. A gorgeous looker, she carries off her role with aplomb as the one who is looking for her love to return. Her huge eyes portray her emotions and her confidence is personified in every frame; whether she is playfully fooling around with Ranbir or anxiously looking out for her Imaan (Salman Khan) to return. It looks like these two were born to act. The chemistry between the two is awesome.

Rani Mukherjee as Gulab the prostitute is very good; better than her Laaga Chunari Mein Daag act. It's a small but meaningful role, central to the theme of the movie. Zohra Sehgal is simply adorable. You just want to reach out and hug her! Cinematographer Ravi Chandran freezes the frames to give moving, picture perfect images.

Only a master craftsman could have dreamt of a film like this and worked towards putting it together exactly as he saw it in his mind's eye. Take a bow, Sanjay Leela Bhansali.

Like Rani Mukherjee keeps saying in the movie, "I likes it"!

Ratings : 4 / 5

naachgaana.com


Akshay Shah Reviews SAWARIYA (Hindi, 2007)


SAWARIYA was no doubt one of the years most awaited films, after the critical and commercial success of BLACK (2005) all eyes were on what Bhansali would do next. When he announced that he would be directing a love story launching Rishi Kapoor's son Ranbir Kapoor and Anil Kapoor's daughter Sonam Kapoor expectations soared; Sony allying up with Bhansali to produce SAWARIYA was the icing on top. So does SWARIYA succeed in what it set out to do? In my humble opinion, yes! The movie isn't flawless, and it doesn't quiet fall in to the same league as Bhansali's previous films, but it's easily worth a watch once for Ranbir's outstanding debut and Bhansali's magical touch.

Adapted from Dostoevsky's short story WHITE NIGHTS, SAWARIYA has a very simple story at its core. The film revolves around Raj (Ranbir Kapoor), a free-spirited kind-hearted dreamer who arrives at a quaint and magical town. A magical place surrounded by dazzling mountains, shrouded in mystery and inspiring enough to be the work of a painter or poet. One silent night Raj sees a mysterious girl standing alone crying at the bridge. This chance encounter introduces him to Sakina, a shy, quiet and enigmatic girl who continues to intrigue him and one who also steals his heart. Thus follows the beginning of a new friendship, where Raj with his most charming ways and an undying spirit tries to win Sakina's heart. However Sakina is already in love with someone else-Imaan (Salman Khan) who has left to go to another city for a year to fulfill his duties, but has promised to return to her a year after on Eid. Raj is unable to accept her haunting past and their friendship pulls him into a whirlwind of desire, madness and romance. Finally Eid arrives, does Imaan finally arrive and whisk Sakina away? Or does Raj end up with the girl of his dreams and lives happily ever after?

The screenplay by Prakash Kapadia and Bhansali himself echoes the recently Imtiaz Ali penned AHISTA AHISTA (2006). Given that this is a movie based on a short story, Kapadia and Bhansali do a superlative job at turning this in to 2 hours of magic. Yes the movie is slow, at times the movie moves at a snails pace and the story often isn't "going anywhere" as such, however that's the beauty of the film. It allows time for the viewer to completely lose themselves in this magical world and really get to know Raj and Sakina. Yes the movie has its share of flaws, and the poor characterization of Salman Khan stands out like a sore thumb. Why is Sakina attracted to Imaan in the first place? What does she see in him that draws her to him and makes her fall in love madly? And where does he disappear to for a year? Had this been ironed out better the finale and climax of the movie would've certainly had more impact.

As a director this is no doubt Bhansali's weakest film to date. As a story-teller Bhansali has certainly over-relied on his sense of style and visual flamboyance and brilliance than actual story-telling. However given the material he was directing itself is only enough to be a short story this was somewhat expected. SAWARIYA often feels like an extended poem, or a magical painting merged in to one. The narrative is often non-existent and in those moments Bhansali lets the non-verbose magic of his technical team do the work. In the past, I've often found Bhansali's over opulent sets, and dazzling cinematography often over-shadow the basic human emotions of the characters, a prime example being the first half of DEVDAS, I had the same problem in BLACK, and yes SAWARIYA does the same as it's without a doubt Bhansali's most indulgent film to date. People have asked questions like "What era is this movie set in"? "What country is this movie set in"? However I found these things somewhat irrelevant when watching SAWARIYA. SAWARIYA is akin to reading your favorite fairy-tale or fable. Unlike DEVDAS or HUM DIL DE CHUKE SANAM, the aim here is to completely transport the viewer in to a different world, a magical world which doesn't exist. The movie transcends time and space completely and as a viewer one must allow themselves to be transported. However this does become somewhat problematic as Bhansali in turn has alienated a large section of movie going audiences who want things to be spelt out black and white, who want masala, who want an item song, who want big butts shaking and 6 packs flaunting, and the villain being bashed to a pulp, and no doubt I too love all that, however SAWARIYA has none of that, in turn it offers the viewer escapism in it's purest form, it offers a touching, poignant, poetic and magnetic fable and in turn asks for the viewer for patience and appreciation.

Bhansali's handling of the love-story did leave me under-whelmed. Given Bhansali himself is the master of unrequited love stories with films like HUM DIL DE CHUKE SANAM and DEVDAS I certainly felt he could've concentrated more on the characters and etched them out finer. The characters of Sakina, and specially Imaan and Gulab feel incomplete in some ways. As mentioned earlier, the movie is slow and there are places where I found scenes could've been snipped and other places where I thought there could've been more (Sakina-Imaan and Raj-Gulab angles specially). The climax of the movie is has been superbly executed and this has always been one of Bhansali's strong-points as a film-maker as he certainly knows how to set the momentum before staging a big finale which touches the viewers hearts.

Now to the performances…

Folks, put your hands together for the Ranbir Rishi Raj Kapoor, the heir to the throne of one of India's oldest film families. As I've always said, star-kids making their debut is akin to a double-edged sword. On one hand they have the platform to make a dream debut with the biggest of banners and budgets; however on the other hand that certainly does manifold the expectations on the kids to perform. The hype surrounding Ranbir Kapoor was incredible, and without a single shred of doubt Ranbir Kapoor lives up to expectations. Given he's present in almost every frame in the movie Ranbir shoulders the expectations of SAWARIYA supremely well and is no doubt extremely talented. So who is he like? Does he remind one of his father Rishi Kapoor? Or grand-father Shri Raj Kapoor? The biggest compliment one can give Ranbir is that he possesses the best of both his father and grand-father. No doubt Ranbir pays a tribute to the legend Raj Kapoor here and right from his get-up, his goofy charm, and at times his chaplin-esque mannerisms which draw an instant reminder to Mr. Kapoor in AWAARA and SHREE 420. The first thing that strikes you about Ranbir is his confidence, not only does he look absolutely smashing (and no I'm not talking about the over-hype, blink-and-miss butt scene) he has an strange sort of charm and charisma which is hard to describe in words and that often reminds one of Rishi Kapoor, specially in the romantic scenes. His goofy grin, searching eyes and rubber-band like movements wins the viewer over from the first time he comes on-screen. Granted there are places where he comes across as raw, and this always going to be case given this is his first film, but there are other times like the emotional sequence where he surprises with his command over the medium and one forgets that he's a newcomer, the climax sequence being one of them. Ranbir Rishi Raj Kapoor….welcome to Bollywood and all the best for the future.

Sonam Kapoor disappoints overall. Yes the girl is gorgeous and striking in a classical way, and reminded me a lot of Moushmi Chatterjee and Sonali Bendre in places but her performance doesn't strike the kind of chord that one expected. One actually feels sorry for her a little given her characterization wasn't as strong as it could've been to start, however her constant giggling does get annoying after a point. So no hope for her at all? I wouldn't say that! There are scenes where she shows sparks of talent and surprises the viewer like the scene where her aunt tells her that Imaan isn't coming and she laughs it off casually, and also the climax is ample proof that with the right films and directors Sonam can go a long way.

Rani Mukherjee is outstanding. It's been a long time since I've enjoyed a Rani Mukherjee performance, but as the zinda-dil prostitute Gulab she is absolutely amazing, and no doubt deserving for a Best Supporting Actress Nomination. She lights the movie up every time she's on screen with her flamboyant presence, and her delivery and expressions are flawless. One does wonder what Rani's fascination is for playing a "lady of the night", after MANGAL PANDAY (2005) and LAAGA CHUNARI MEIN DAAG (2007) this is the third time in 2 years Rani is playing one.

Salman Khan doesn't have much to do here in a 10 minute appearance. One wishes his character had a personality given he's so crucial to the crux of the story. However Salman Khan sleep-walks through his role and delivers what is undeniably one of the most wooden and non-expressive (more-so than usual) performances of his entire career!! Truly disappointing.

Zohra Sehgal is lovable as ever, and provides some great moments of comic relief in the movie. Begum Para and Achla Sachdev are good in their small roles.

Technically the movie deserves a 10/10, magical, exquisite, surreal, and simply indescribable in words! Ravi Chandran's camerawork quiet easily is the finest I've seen this year. Each and every visual in the movie is a beautifully brushed painting on celluloid, and the creative passion that Chandran has captured these is outstanding, and deserves a standing ovation. Omung Kumar and Vanita Omung Kumar's artwork is beyond excellent. The magical town they've created is dazzling and it's hard not to drop you jaw in absolute awe. Choreography by Ganesh Hedge, Shamak Davar, Mallu and Pappu is fantastic. No doubt Ranbir is one of the finest dancers to grace the silver screen in recent years, and one that will definetly be compared to Hrithik Roshan and Shahid Kapur.

Music has always been one of the biggest USP's of a Sanjay Leela Bhansali film and SAWARIYA is no different. The title track SAWARIYA is infectious and the picturization further elevates the impact of the song at the start and towards the end, no doubt the best song of the film. JAB SE TERE NAINA reminded me instantly of R.D Burman, nuff said. MASHA ALLAH is soothing to the core and Kunal Ganjawala is at his best. YOON SHABNAMI, PARI and CHABEELA too leave their mark and are melodious to the core.

All up where does that leave SAWARIYA? As I said earlier, in comparison to expectations SAWARIYA is a disappointment; however the movie is most definitely worth a dekkho for Bhansali's magical touch and Ranbir's stunning debut.

Overall Rating=7.0/10.0

an audience review rk.net:

I saw Saawariya earlier today and here are some of my thoughts.

Having watched OSO yesterday (with which i was REALLY disappointed), I just hoped my weekend would be saved by Saawariya.

During the first 10 mins of the movie I could sense a good movie.
You just cant go wrong with SLB, however much you bash him you know his films are good otherwise there wont be so many tongues wagging about them.
Why on earth would both the kapoor families enthrust theyre childrens debut into such a director's hand if they knew hes going to make a complete fool out of them?? They know what a genius he is in terms of creativity.

Its been so long since ive sat through a movie, just basking in the wonderful dialogues and heavenly sets. SLB makes his setting so divine that you just dont want to question where it is and which timeline it is set in.

This brings me to our critic Mr Taran Adarsh's review in which he asks questions like,

Which part of the country is this straight-out-of-a-fairytale town located? And what era are we talking of?

How can you be a critic and be so in the box?? Who cares where it is and when it was set in!?? Thats the whole point of the movie, not to analyse it too much and just ENJOY it. His review confirms my suspicion that he probably entered the movie already hating it.

Then he says,

And Salman returns. The sequence that follows and the culmination to the story leave you completely disgruntled and perplexed!

I just feel sad for indians. Just because the story was about Raj and Sakina, does it mean they have to end up with each other?? WAKE UP PPL! This is new age cinema. If you want your happy endings then watch senseless movies like OSO.

Now for the acting. Ranbir Kapoor deserves a standing ovation. I still cant believe that its the dudes first movie. How can ANY actor make his character so believable and yet look like a seasoned actor. kudos to him. Hes gonna go far. Whenver I make a movie, Ill make sure he stars in it.

Sonam Kapoor looks soo beautiful. I just love how there are so many tight shots in the movie, where you can look into the actors eyes and see it filled with love for the character. Sonam definitely could have had a better character though. I didn't feel a connection with her character, she seemed confused and you didn't know why she did what she did. But that doesn't say that she didn't enact it well. You can see that she put in alot of effort. She'll get better with every movie. Shes got it in her.

Rani was great, thank god she wasnt crying in this movie. Her character gave a lot of life to this movie.
Zohra Sehgal is so damn cute and funny.

And about the review which were bashing the colours of the movie saying that there were only blues and greens? look properly, from what i remember ranbir wears a RED coat in one of the songs. now thats a different colour isnt it?

This is definitely worth the wait and the watch. Hell, Im gonna watch it again on monday haha.

for me, its a 4/5

Saawariya is a beautiful but bittersweet fairy tale love story, telling of the affection the characters have for their beloved, even though their beloved doesn't love them back. I find it lovely, though some may think I'm crazy, but it touches on the reality of that emotion called love, that in all its cruelty, could make a person go insane with all the unhealthy pining and infatuation. The gods sometimes inflict such pain on us because they can, and something unattainable always come with the appeal of a challenge, as we try to prove the stars wrong in denying us what we think is best. But in all honesty from personal experience, one of the worst things that can happen to anyone who thinks they're in love, is the one sidedness of it all, and the cold harsh reality that comes with it. We yearn for that thin shred of acknowledgement that there was at the very least some form of affection felt, in our at times desperate need to feel loved and wanted, and still today, I do not understand why in the quest for unconditional love, the hurdles that stand in our way dishes out very painful lessons.

Raj (Ranbir Kapoor) is a minstrel, who with his charms, glib tongue, beautiful singing voice (yes I know it's someone else's), and light feet, puts happiness into the lives of the down and the trodden. He rides into town with nothing but a guitar on his back and plenty of happiness to give, and finds friendship with the working girls in the red light district, in particular, a feisty woman called Gulabji (Bollywood queen Rani Mukherjee). However, this happy man will soon find himself tested to the limits, and be put through a series of tests which will either break him, or through the experience, emerge with bruises but putting into practice what he preaches. We will see him fall from grace, with actions that we will probably frown upon, but as a man madly in love, who will fault him when he revels in the darker side of the emotion, when jealousy envelopes his being?

The object of his wild affection, is a beautifully aloof lady called Sakina (Sonam Kapoor in her debut feature), a willowy figure he meets one night on a bridge, sobbing in the rain. Captivated by her beauty, he pursues her endlessly, but with great irony, we realise that she too is pining for someone, not Raj, but an Imam (played by Salman Khan, a departure from his bad boy persona), himself a mysterious figure that calls for a year's devotion from Sakina, their love so fleeting, yet so binding, and now choices are presented to both Raj and Sakina. Him, to try and prise her away from her somewhat imaginary beloved, or to provide her the pillar of strength and encouragement in waiting. Her, to forgo something vowed verbally, and to give herself and Raj a chance. This tussle makes it compelling on all fronts, with a token sub plot thrown in with Gulabji too providing a more level-headed approach to unattainable love.

Saawariya unfolds in 4 days, and it plays and feels exactly like a staged musical with a fixed number of purpose built indoor sets that look like a cross between those in Moulin Rouge and Perhaps Love, and with lovely choreographed dances, a wonderful palette of colours, gorgeous costumes and wonderful music and songs, that it is extremely difficult not to fall in love with. The excellent art direction makes this one beautiful movie to sit through, with a combination of animated graphics to add scale to the backdrop. Technically, it's hard to find any fault with it, and I can't help but admire the

all roundedness that Bollywood actors have to be, with singing / lip syncing, dancing and acting all rolled into a typical day at work.

While there are a mixture of religions portrayed in the movie, I thought that it painted a perfect picture of tolerance and harmony, having culminate on the "Eid" festival, that the only evil that came out was a by product of green originated from man's emotion of love. We get the usual adage that if you love someone you have to let the person go, to seek out happiness that you can never provide by being together. "You're but a friend" is probably one of the dreaded sentence to hear coming from a loved one, and it always hurts.

There are many love stories presented in Saawariya, though some not as well developed as they should. Some characters have an air of mystery to them that never gets fully explained, like the Imam, and of Gulabji's motivation and hurt. The last third of the movie felt somewhat rushed to try and close all the plots that it opened, and I wouldn't mind if it had taken its time instead. Its take-away - the most important lesson to learn is as what Raj preaches, that in a boxing ring with Unhappiness, the best one can do each time we're clobbered, is to pick ourselves up, dust ourselves, and proceed to try and hit back. It is precisely of these ups and downs, that makes life Life.

I so like this movie, that it's going to be one of the contenders in my top 10 movies of this year. Amongst the array of song, the one where Gulabji encourages Raj (titled Chhabeela) gets my vote. And it's cheeky at times too, with the Brief Nudity rating given for its very brief @#$%& shot when Raj actually flashes himself at an open window. But in any case, Saawariya still makes an excellent date movie to bring your beloved to, and be bowled over by what it means to be Spectacular on the silver screen.

10/10

Originally posted by: shaila_07

This brings me to our critic Mr Taran Adarsh's review in which he asks questions like,

Which part of the country is this straight-out-of-a-fairytale town located? And what era are we talking of?

How can you be a critic and be so in the box?? Who cares where it is and when it was set in!?? Thats the whole point of the movie, not to analyse it too much and just ENJOY it. His review confirms my suspicion that he probably entered the movie already hating it.

aahhh...tHIS IS one Big Idiot this Taran Adarsh..N No one in their right minds wud take that lunatic(sry Taran fans😆) seriously...ReallY iam disappointed at Rajeev Masand too on that Note..

Both of them asking "where is this happening? where does it rain one day, snow the other?!"

Why Masand calls White Nights a Masterpiece N if he has read that story, never wud he have said such a stupid thing!😡🤢(well Taran I am sure hast read White Nights so no comments there!😆)

well have any of them heard of the artistic quality of films/ books where the "weather, the surrouding reflect the minds and feeling of the characters?!" In White Nights, that was exactly what happened..the first two nights starry bright, the third night dull, fourth nigh stormy(when they dun meet), the fifth night(actually the 4th rendezvous and so the fourth white night) seeming beautiful when they dream of a future together and the next morning gloomy but with a small ray of sunlight!...ahhh beautiful whhat story it is!!!😳

As for me, now its getting better review thats great I am more definitely gonna give it a try now!😃

My thoughts exactly !!! his review looks foolish , SLB is not trying to show a 'straight out of life picture' anyway.. its more like picture full of symbols and meanings... thats the beauty of art . and frankly Taran Aadash has no such sense .. how can he give movies like Black Devdas Asoka and now Saawariya a 2 star while giving something 3 or 4 stars to tacky movies like 'chup chup ke' and even giving a two to 'cash' 😕

or and the rest of the questions were just as stupid

# Even if you subscribe to the theory that it was love at first sight for Salman and Sonam, what is it that keeps their romance going?

he doesnt even understand this kind of love .. i dunno how to out my thoughts into words .. but u know what i mean ?

Why does Rani Mukerji abandon Ranbir, when he comes knocking on her doors and admits that he wants to spend time with her? Why does she lose her temper, although she secretly loves him?

i cudnt belive he asked this question ..this shows he never really 'got'the movie. One of the most brilliant parts in the story . that was such narrow thinkin TA

* And Salman returns. The sequence that follows and the culmination to the story leave you completely disgruntled and perplexed!

Gosh ! he himself acknowledged the story is based on white nights .. whats the problem with this ending.. do they have to dance around a tree and realize they have to be togethr forever ?

i can accept it that the public may not understand the movie .. but a critic should have seen more

Originally posted by: PinkPixie

My thoughts exactly !!! his review looks foolish , SLB is not trying to show a 'straight out of life picture' anyway.. its more like picture full of symbols and meanings... thats the beauty of art . and frankly Taran Aadash has no such sense .. how can he give movies like Black Devdas Asoka and now Saawariya a 2 star while giving something 3 or 4 stars to tacky movies like 'chup chup ke' and even giving a two to 'cash' 😕

or and the rest of the questions were just as stupid

# Even if you subscribe to the theory that it was love at first sight for Salman and Sonam, what is it that keeps their romance going?

he doesnt even understand this kind of love .. i dunno how to out my thoughts into words .. but u know what i mean ?

Why does Rani Mukerji abandon Ranbir, when he comes knocking on her doors and admits that he wants to spend time with her? Why does she lose her temper, although she secretly loves him?

i cudnt belive he asked this question ..this shows he never really 'got'the movie. One of the most brilliant parts in the story . that was such narrow thinkin TA

* And Salman returns. The sequence that follows and the culmination to the story leave you completely disgruntled and perplexed!

Gosh ! he himself acknowledged the story is based on white nights .. whats the problem with this ending.. do they have to dance around a tree and realize they have to be togethr forever ?

i can accept it that the public may not understand the movie .. but a critic should have seen more

AMENNN to everyone that thinks taran a doesnt know whatthell hes talking about ,, what era is it from ,,, THAT REALLY MATTER?!?!?

RANI said exactly why she kciked raj out

he obviously didnt watch the damn movie UGH it pissed me off cuz i read his review and ALMOST didnt see it and then i went i cursed him out cuz it was paisa vasool

see desi people like shiny stuff, oso is shiny = desi ppllike

when someone experiments or god forbid theres a sad ending,,, everyone degrades the maker

whatever itwas worth it

but cud someone tellme at the end when ranbir held his hands out and sonam randomly kissed them and wiped her tears why she did that??

thanks