saawariya reviews

 

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When Ranbir's butt was the only highlight of a soulless Saawariya Arthur J Pais in New York

< = =text/> ust as Ranbir Kapoor was to drop the white sheet wrapped around his waist, a man in the row in front of me woke up his companion, saying almost breathlessly, 'Dekh, dekh, bilkul nanga hai' (Look, look, he's completely naked).

The brief nude scene -- which in India has been smudged -- could be one of the highlights of the visually sumptuous but soulless film, Saawariya. The movie has received PG rating in America for its 'thematic elements, brief nudity, some language and incidental smoking.' PG means parental guidance is recommended.

Most Hindi films in America are released without an American rating; for instance, even a child could have walked into the theater showing Omkara [Images], a brilliant but also a highly raunchy and ultra violent film. Since Saawariya [Images], Sanjay Leela Bhansali's [Images] bloated and monumentally boring melodrama, is being distributed by Sony which is an American company, it was imperative that it was rated by Motion Pictures Association of America.

Whether Ranbir's derriere will do anything at all to the film at the box-office remains be seen.

The woman who was woken up told her companion soon after the brief nude scene was over: "I am going to sleep. You can wake me up tomorrow." The way the movie was limping, she felt it would never end. As the lights came on, she was asking: "What did he show this time?"

The film, which inaugurated the Mahindra Indo-American Arts Council Film Festival in New York on Wednesday, received mild applause at the end, with some viewers saying they clapped more to acknowledge the beginning of the film festival. But many viewers thought it was an inauspicious co-venture for Sony.

At least 20 people, out of some 600 at the screening, walked out half way through the film which is about two hours and thirty minutes long.at possessed Bhansali to make this film!" said a man to a friend. "I think the success of Black went to his head. That film had no songs but here we have nearly a dozen songs. But I can hardly hum any number but for the title track."

It is not that viewers found everything wrong with the film. Some thought Salman Khan, who has just about 10 minutes in the film, was impressive. But why is his character made to be so mysterious? Who exactly is Iman, the character the actor plays in the movie? Why doesn't he tell his girlfriend, who has waited for him for over a year, why he couldn't write to her... Had Bhansali been around, he might have answered those questions.

Earlier in the film, when Iman, a paying guest in the house run by the grandmother of Sakina (Sonam Kapoor), is leaving town he tells Sakina that he cannot speak of the work he is doing for the country. "What happened to that work when he decided to come back for his lady love?" wondered an elderly woman. "Everything in the film seems confusing."

But many people liked Sonam, even though some felt the decisions her character makes in the film are not really convincing. Some felt she had a rare kind of spontaneity; a few said she could become a top star in no time. "These kids are pretty promising," a young woman said. "But they needed a better film."

Many people were disappointed at the climax. "I did not expect the jilted lover to cut his wrist or shoot himself," said a university student. "But the climax is so tame and unconvincing that it ruins the film which was already in much trouble."

As for the grand sets, many people thought in paying too much attention to the production details, Bhansali forgot to give more attention to the screenplay.

"I haven't read the short story by, by... what's his name, Fodor," said another viewer; he was trying to get the name of Fyodor Dostoevsky whose short story White Nights is acknowledged as the source for Saawariya. 'But I wonder if he could have written a story as confusing as the one in the film.'

Another person said he could understand why Bhansali needed nearly a dozen songs and dances for his film. "The villain I think is the short story that inspired Bhansali," he said. "It is difficult to make a full length film based on a short story or a novella. He would have done better had he used a novel with an intriguing plot."

As for the competition between Om Shanti Om and Saawariya which are being released on November 9 across the world, many viewers thought there would be intense competition between the two films.

"Santa Claus has arrived early this year and he definitely loves Shah Rukh Khan [Images]," said a man who has not seen Om Shanti Om. "But I have the gut feeling that it is going to knock Saawariya flat. At least it won't be pretentious."

But some felt even if Saawariya had been released with no competition, it would have had a tough time wooing audiences.

A young woman who was going through the festival brochure discovered that many awards would be given on November 11, the last day of the film event.

"Is there any award for the most boring film," she wondered loudly. "I would love to nominate this film. I would even suggest its title be changed to SaaBOREiya.'

"It is a colossal blunder," said a filmmaker whose work is being shown at the MIAAC Film Festival and who did not want to be named. 'It is radioactive. But, hey, who knows? Audiences may come to love it because they like Sonam and Ranbir." 

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Once upon a time there was a movie that touched the senses, the soul, and the heart. Sanjay Leela Bhansali's "Saawariya" is an eternal film that transports the viewers across time and space into a world that exists just beyond our ordinary lives. The film is like an ethereal spirit that lovingly brushes the back of your heart in the dark and leaves a haunting impression upon your soul.

The movie has been brought to us by the man who may arguably be India's best director, Sanjay Leela Bhansali. The director has been responsible for some of the most beautiful cinema that Bollywood audiences have seen. Movies such as "Khamoshi", "Hum Dil De Chuke Sanam", "Devdas" and "Black" have left an indelible mark on Hindi movie fans all across the world. His previous movies have been praised for his artistic vision and uncompromising dedication to the craft of movie making. If ever there were a director that Raj Kapoor has passed the baton to, it is Mr. Sanjay Leela Bhansali. The director is known for his perfectionism in everything from cinematography to the music score. "Saawariya" is a highly anticipated film by fans, as people wonder whether the director has been able to create another masterpiece or not.

The movie is co-produced by Sony film's Columbia Pictures and has been given a PG rating (for a bit of nudity) by the Motion Picture Association of America. This highly touted and anticipated film releases worldwide on Diwali (November 9th, 2007) and features the debut of Ranbir Kapoor (Raj Kapoor's grandson and son of Rishi Kapoor), Sonam Kapoor (Anil Kapoor's daughter). The supporting cast includes Zora Sehgal with appearances by Salman Khan and Rani Mukherjee. Special mention must be made of the biggest character in the film, which sometimes overshadows even the flesh and blood actors: the small, magical, sleepy blue/green hued town that provides the canvas on which Sanjay Leela Bansali paints his characters over the course of four nights.

The film centers around a lovable vagabond that appears in town one night, and quickly wins over the heart of "working girl" Gulabji (Rani Mukherjee) who falls in love with the charm, innocence and seeming naivet of Ranbir Raj (Ranbir Kapoor). He has no family, no history, and seeks the love of those around him to fill the solitude that exists within his heart. After winning over the hearts of the town's @#$%& by re-assuring them that angels will take away their sorrow, he captures the heart of Lillipop (Zora Sehgal) by bringing back the happiness that she lost when her son left her thirty seven years before. He does this by offering her that which she has not had in a long, long time…a warm and loving hug. Once he has befriended the most unlikely of characters, he happens upon a beautiful woman that steals his soul away within the breath of his lonely darkness. Raj, is used to fighting life on his own, and is willing to box with sadness/fate even though life may try it's best to knock him down. Once he sees Sakina (Sonam Kapoor), he truly feels that he for once is not alone. He is enamored, thrilled, crazy, and mad with a love and passion that makes him write Sakina's name on the walls across town. Little does he know that though he has fallen in love with her, her heart belongs to another man and she only sees poor Raj as a friend with whom to share her loneliness until her beloved returns. Imaan (Salman Khan) has stolen Sakina's heart, but had to leave her behind until he can return to her the eve of Eid. Raj's heart is torn to shreds as he tries to convince his beloved Sakina that he is truly the man for her. Unfortunately, he finds that the woman he loves has no room in her heart for him. Will Sakina choose Raj over Imaan? Will Raj be heartbroken by losing Sakina to Imaan? Will Lillipop break out into song and dance? Will Gulabji sacrifice her secret love for Raj, so that he can be happy? For the answers to those questions and more, I'm afraid you'll have to go out and see this beautifully filmed movie.

"Saawariya" is as much a story about the magical town that surrounds the actors as it is about the characters themselves. Sanjay Leela Bhansali and cinematrographer Ravi K. Chandran have draped the entire town in blue and green hues, giving every scene a wispy ethereal look that leaves the audience enraptured. Each frame/scene is like a painting and the viewer doesn't know where to look first. These hues combine with the magnificently detailed sets designed by art director, Omung Kumar. If there's any one complaint, it's that each frame has so much going on in the background that it can get a bit distracting at times. It's a testament to Mr. Bhansali, that he has tried a completely different technique in filming this movie. The closest comparisons I can make to "Saawariya's" distinct look are to films that are directed by Hollywood director Tim Burton who prefers filming completely on indoor sets as Bhansali has done in this film. Though the sets seem visually realistic, the viewer is left quite conscious of the fact that something is just a bit off. This works to the film's advantage as the town takes on a magical look. It becomes both "everywhere" and "nowhere" within India. In fact, the town is never even properly identified within the movie. The hues which are provided by space lights (the first use of these atmospheric lights in a Hindi film) and the use of blue/green paint, add to the creation of a character which I call "magical reality". Everywhere you look, there are artistic flourishes such as neon signs in subdued hues, a statue of Buddha, Mona Lisa drapes, Persian rug patterns, and a beautiful bridge with a river running underneath it all combine to form the centerpiece of this emotional tale. Bhansali's dedication to his craft is evident throughout the movie, and he re-affirms himself as the best director that India has to offer.

Sanjay Leela Bhansali's "Saawariya" is as much homage to his distinct style of filmmaking as it is to the bygone Raj Kapoor movies of yesteryear. In fact, Ranbir Kapoor's character Ranbir Raj's anscestry can be traced back to the beloved vagabond clown that Raj Kapoor performed in movies like "Shree 420". He's pure, friend to all, beloved by all, a loser in love, yet never gives up hope for a better future. The legacy of Raj Kapoor can be felt all through the movie, culminating in Ranbir and Sonam's re-enactment of the RK Films logo (sculpted after the famous scene of Raj Kapoor holding Nargis as she looks up at him)

Ranbir Kapoor rises up to the challenge of living up to his grandfather's legacy by delivering a multi-layered nuanced performance that covers the broad range of emotions that is the human psyche. He makes you laugh, he makes you cry, but most of all he creates a distinct character that charms the audience. He's not afraid to be cheeky, and by that I don't mean, ahem, cheeky in any sense but the literal. For you see, not only does he act well, he makes what may very well be Bollywood history by being the first male actor to flash his sculpted nude behind. I can almost imagine the sighs from the ladies in the audience when they see him in all his cheeky glory. Don't worry though, it's not a cheesecake shot, but rather filmed very artistically by the director and showcases the character's ability to be completely free and happy in his love. (Female viewers in India may be a bit disappointed, as the scene will probably be edited by the Censor Board).

It is on Ranbir's acting "shoulders" that this movie rests as he has more screen time than any of the others. I have to say, that for his first movie, he has displayed an unusual grace both within his acting range and dancing style. If there is one minor complaint, it's that a few of his expressions need work, as his unconventional looks sometimes result in expressions that make him look a bit foolish. It's quite obvious that Sanjay Leela Bhansali has worked very hard in molding this young actor to produce such a stellar performance. So far, the movie has three stars: The first star in the film is the director himself, the second are the town sets, and the third is the discovery of a new star in Ranbir Kapoor.

But, what about Sonam Kapoor, you might ask? Honestly, she almost fades into the background at times and suffers from the usual lack of strong writing for female characters. Her character never comes across as more than a pining love-sick woman. The range of her performance is limited to laughing, crying or looking coquettish towards Ranbir and Imaan. What's lacking is a certain finesse and nuance that should have been brought to the performance. It's not to say that she is bad, it's just that the viewer keeps expecting more than what her performance provides. She does bring the necessary innocence and beauty to the role, and her costumes are ethnically beautiful; however, one wishes that she brought a bit more to the film. Sonam has made a commendable first effort that is a bit overshadowed by the other actors. The one thing that she shares with Ranbir, is a very good chemistry that brings out the joyfulness of youth and first loves.

What adds to Sonam Kapoor almost being lost within this movie is that the supporting actors are all so wonderful. One of the most elegant of performances is provided by Zora Sehgal. Her character is heartwarming and she displays such emotion within her eyes. From the pain of extreme loneliness, to the weight of a life-time of experiences, she is the sensitive soul that balances our beloved clown Ranbir. Rani Mukherjee provides the glamour in a strong performance as the @#$%& Gulabji who has the strength and courage to fight for her happiness, yet knows no end to the depths of her sadness as she lets go of the man she has fallen in love with. Her dialogue delivery is charming as she mixes up bad street-wise Hindi with skewed English. What's that you say? What about Salman Khan? The actor is in the movie for perhaps a total of five minutes, but gives a very strong yet restrained performance as Imaan, the man who Sakina falls madly in love with. He proves that he is a superstar as he lights up the screen with his acting persona in each frame he is in. His is a pivotal character, upon which hangs the fate of both Ranbir and Sakina.

Monty Sharma's situational songs and background score help move the story forward throughout the film. The title track, "Saawariya" is wonderfully visualized and powerfully introduces Ranbir Kapoor to the world. "Pari" is full of hope as Ranbir impresses Gulabji with his belief that things will always get better. "Masha-Allah" is beautifully realized by Bhansali and frames how a woman can completely take a man's breath away. "Thode Badmash" showcases Sonam Kapoor's beauty and visualizes how a woman see's the man she loves on so many different levels. "Chabeela" plays to Rani Mukherjee's graceful dancing and expressive emotions. The choreography is very well done for this song, and is a must see. The music is enhanced by the visuals within the film and the viewer will gain a new found respect for the soundtrack by the end of the movie.

This is one of those films that will take you to the magical world that exists within director Sanjay Leela Bhansali's fevered mind. It's a love story taken to another level. Unrequited love never looked or felt so good. The film is spellbinding, heartwarming, and yes, heartbreaking as well. Is it his best film? No, it's not Sanjay Leela Bhansali's best film. It is; however on par with his previous movies and will not disappoint his fans. The only thing that might go against it having mass appeal is that the movie is truly like a classical painting, in that the viewer has to open their mind and have the patience to appreciate true beauty. I highly recommend that you see the movie in a movie theater to appreciate the beautiful direction, backgrounds, and fine nuanced performances. "Saawariya" is a film that will prompt discussion, will be appreciated as a classic and will be one of those movies that will get better upon repeated viewings. It truly is like an ethereal spirit that lovingly brushes the back of your heart in the dark and leaves a haunting impression upon your soul. The film is a magical spectacle of visual and emotional delight.

8.5/10


-> [www.planetbollywood.com]

 

Oh, how Sanjay Bhansali hams! Raja Sen

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First off, using the ever-fantastic words of Pete Townshend entirely out of context, The Kids Are Alright.

No, Ranbir and Sonam Kapoor -- megahyped bachchas sharing a surname but entirely different Bollywood legacies -- aren't, as the hype might have had you believe, the instant quick-mix superstars ready to take Bollywood into the next generation. He's occasionally likeable, she's undeniably attractive. And that's that. As said, they're alright.

The problem lies with their puppeteer, the all-conquering badshah of bluster. Sanjay Leela Bhansali [Images] takes Fyodor Dostoevsky's White Nights -- a stark, lovely story about romance born and rekindled over four nights -- and, picking out its barest heart, proceeds to smother it in mixed-up layers of trite melodrama. And money. And so this soft core, this tender tale, is hidden -- under several reams of indiscriminately wrapped silk and velvet, of loud noise and harsh light, of bewildering backdrops and the colour blue -- so deep beneath smug self-indulgence and a bizarre budget that you can't can't even hear the heartbeat anymore.

The story is simple: a minstrel, full to the brim with can-do enthusiasm, falls in love with a fair maiden. All would be well, except she is awaiting her faraway lover. Doggedly the singer tries to awaken her love, while she loyally stalks the bridge assigned to the We're tolsome-night rendezvous. Over four nights, love, loyalty and longing are all born and questioned.

 Most redundantly, that this is a tale set in a different world. It is a fairytale realm reminiscent of the classic Prince Of Persia video game, with gondolas and prostitutes scattered around a wet Venetian nightmare. The architecture is whimsical, as is the generous use of flickery neon. Clock towers with hyperactive needles coexist merrily with sprawling mosque courtyards and numerous tiny cobalt by-lanes lead arterially out of the central tiny bridge area, most such roads seeming to lead to the exorbitantly built brothel or the one-resident-only guesthouse. It sounds fantastical and brilliant, and could certainly have been, except it doesn't really have a concept. Or a point.

Thus Omung Kumar gets to play madman art-director, Bhansali letting him go wild and asking only that he be theatrical and sporadic. 'Just paint everything blue and leave lots of room for Raj Kapoor film references,' the brief could well have read. And so runs the gamut, from azure to cerulean, with walls and pillars and peculiar choices of artwork.

And while dollars are positively dripping from the scenery, nothing is spectacular. Remember MF Hussain's Gajagamini? Now replace the high concept in that film with a big budget. The result is Saawariya [Images], an underwhelming waste. Thousands of Bollywood songs are shot with madcap little unreal backdrops; Bhansali has just used one of those for his entire film. One imagines it'll be a while before Sony Pictures grandly bankrolls another Indian project.

Black, flaws and all, was very well shot. Here one can imagine cinematographer Ravi K Chandran stifling a yawn. And if, for God's sake, you're building an absurdist city-of-many-cities, at least leave physical room for some mindblowing camerawork. There are a few -- four, count them -- well-executed shots in Saawariya, most of them simple cutaway shots. What in the world has been thought-through in this movie?

Not the characters, certainly. Ranbir's Ranbir Raj tells Sonam's Sakina that she knows everything about him: his name, where he lives, what he does. One assumes that is all there exists in their character sketches as well. Oh, and the boy is told to be restless, the girl, patient. Outside of that, there is no depth, despite the actress' limpid eyes and the actor's sometimes cheeky grin. These are cardboard characters, lazily written and ineffective. In a stylised world impossible to relate to, at least the protagonists should have been flesh and blood.

Instead, the director hams.

Sanjay Leela Bhansali needs to be thwacked with a subtlety stick, much like Sakina messily beats carpets hanging around her. Everything is overblown and hyper-real in the director's head, and there is no room for soft reality. The characters populating his movie, therefore, cannot sob without hysteria or laugh without sliding off a chair. A glare is held for ten minutes, a coy glance for five. And the dialogue is immeasurably grating, making the film's sub-130 minute length seem twice as long.

It is a testament to the star-kids, then, that they've gamely gone through these dizzying motions without afflicting career hara-kiri. Ranbir, playing a character labeled over-lovable from start to scratch, is often painfully exaggerated and moronic, but he does salvage a few moments of charm where you feel for him -- even if only sympathy at his debuting in this production. There might be hope, sure. But then there's that towel song, the most homoerotic picturisation in Hindi cinema, which could likely take a few years to live down.

The gorgeous Sonam Kapoor [Images] is armed with a great laugh -- almost as infectious as her father's -- and one wishes she was allowed to simper softly, instead of having a clearly overdubbed plastic giggle plastered onto her. She has the worst lines and moments in the script -- save for Rani Mukerji's [Images], where Bhansali clearly cashed in all his Black chips -- but there is a merciful agility to her movement, a fluidity to her style. It is a character impossible to like, and yet she warms you up to her.

The only times in the film the kids really, really work are when the tension abruptly breaks and they burst into laughter. It is almost as if -- or, possibly, because -- the director yelled cut and two old friends dropped the painful masks and chilled. God, how much better a Jab We Met [Images] style debut would have been for these two.

It's hard to fathom what Bhansali expects anybody to like in this film. With close to a dozen songs assaulting us once every seven minutes, on average, there is no room for the narrative to flow. The background score is deafening, and the writing is so emotionally manipulative -- wait for the way Ranbir convinces Zohra Sehgal to let him bunk with her -- it makes you want to pen down an alternate script in immediate protest. And, despite conjuring up moments with legends like Sehgal and Begum Para -- irresistible when devoutly mouthing Mughal-E-Azam dialogues -- these are too few and far between. Are we actually supposed to enjoy Ranbir doing dad Rishi's rabblerousing lines from Karz, or laugh at Rani's pathetic half-malapropisms? Please.

What's the deal, Mr Bhansali? This isn't a Luchino Visconti remake, as many had feared, but a bizarre reworking, an overbaked version of a very simple romance. Dozens of dancing prostitutes do not a Federico Fellini make, sir.

This film opens with Ranbir, off-screen, persuading a whore to listen to two lines of song. She deigns to listen and he picks up his blue six-string. And instead of an eager-to-please youth fumbling with a scratchy guitar, we get -- after a sudden title screen with the star-kids' name, a la Rajnikanth [Images] -- a mega song-and-dance production, a full-blown intro. No wonder the heartbeat is muted.

As Gulabjee, lady of the night, would say, I don't likes.

Rediff Rating:

Movie Review: Saawariya

Saawariya: A star is born
Movie Review: Saawariya

Saawariya: A star is born


indya.com rating: 3.5 out of 5 *

Cast: Introducing Ranbir Kapoor and Sonam Kapoor along with Salman Khan and Rani Mukherjee in Sp. App.

Director: Sanjay Leela Bhansali

Synopsis: Ranbir Raj (Ranbir) a free spirited idealist – dreamer arrives in a dreamy surreal town and joins as a lead singer in its swankiest club. Here he bumps into Gulabji (Rani), a @#$%&, who immediately falls for his naivety and innocent charm. One night he notices a mysterious girl standing alone on a bridge holding an umbrella. As he tries to strike a conversation, she shies away. But he still keeps following her and both end up becoming friends. This mystery girl, Sakina (Sonam) forever carries a sadness in her eyes which leaves Ranbir intrigued. But so mesmerized he is with her that his every minute goes into discussing her with his land lady, Lillipop (Zohra Sehgal) and Gulabji.

Just when Ranbir is about to express his true feelings to her, she reveals the reason behind her unhappiness. She tells him she is waiting for her love, Imaan (Salman) to return. A year back before leaving, he had promised he would be back and meet her on the same bridge that he saw her waiting. Jilted, Ranbir manages to hide his emotional outburst. What happens after Sakina requests him to help her find her lost love back is what the rest of the film is all about.




Acting: Ranbir delivers a multi-layered well nuanced performance covering a broad range of emotions. He makes you laugh and cry with as much ease as he charms his way into your heart. A star is born! In comparison Sonam suffers from a monotonous characterization. Her character is mostly relegated to doing the same things repeatedly - laughing, crying or looking coquettish towards both her lovers. But she is a graceful actress who lends just the right innocence and beauty to her character. Salman's presence is barely 10 minutes in totality but he commands total attention whenever he arrives. Rani delivers a strong performance portraying a gamut of expressions ranging from sadness to naughtiness in a flicker of seconds in her eyes. Zohra Sehgal is terrific.

indya.com rating: 3.5 out of 5

Direction: Bhansali creates a magical spectacle of visual and emotional delight that transcends you to a dream world. Apart from his actors, his opulent sets lend an additional character to the film. Covering the entire town with hues of blue and green, his every frame appears artistically hand painted. But sometimes this in itself proves to be a drawback, as your attentions sometimes wavers from the lead stars to those many things happening at the background. Shot completely indoors, kudos to his cinematographer Ravi K. Chandran and set designer Omung Kumar for an out of the world job.

indya.com rating: 3.5 out of 5

Script: Unrequited love was never projected so beautifully. With lines that directly impact in your heart, the screenplay proceeds almost lyrically with songs carrying it forward. The scenes that stand out are – Ranbir's fighting 'unhappiness funda' monologue to Sonam, Rani's first visit to Ranbir's house and her verbal dual with his land lady, the climax sequence between Ranbir and Sonam. There are chances that you might end up coming out either completely fascinated or totally appalled about what you experienced in those 2 and a half hours. It all depends on how much and how quickly you submerge yourself in Bhansali's magical world.


indya.com rating: 3 out of 5

Music: Monty Sharma's music is more situational. Each song unfolding on screen coupled with Bhansali's magical touch in their filming takes them to a completely different level. Amongst them the title track in both its versions, Mashallah and Yun Shabnami are a delight to watch. Ranbir's spirited dance in just a towel for Jab Se Tere Naina will multiply his female fan following.

indya.com rating: 3.5 out of 5

I'll have to agree with the first and third reviews. I definitely don't "likes". 🤢 🤢 🤢

Saawariya
Director: Sanjay Leela Bhansali
Actors: Ranbir Kapoor, Sonam Kapoor




In what may have become a stock role for her now, Rani Mukherjee plays a prostitute, Gulab (or Gulabji), in this film. She is in love with her young hero (Ranbir) who has fallen for a demure Indian beauty he'd met only the previous evening.

The young boy calls himself Raj. He had just landed into a strangely fictional, unpopulated whore-house town of blue home dcor, coloured lights, fancy boats, and a delicate bridge. He'd bumped into a lonely girl Sakina (Sonam) he immediately fancied as his own. Gulabji had warned her friend then, "Don't love someone so much that you begin to hate yourself." The advice proved prescient. His love may have been as instant as inexplicable. The girl's denial had a meaning. She said she belonged to someone else, one Imaan (Salman Khan). She said she'd prefer to wait for him.  

The night the hero realises he is unlikely to have luck with his lady, he walks up to Rani's Gulabji to sleep with her. She turns him down: "Kaagaz ke phool se kabhi ittar bante dekha hai?" (Ever seen perfume getting extracted from a fake flower?). Earlier, explaining her profession to the hero's old landlady (Zohra Sehgal, a gentle casting touch there), she'd said, "You have an ancestral home, you made a guest-home of it. I had a body; I made a guest-home of that. We're in the same business."

Some more such gems emanate from Gulab; plain banalities from elsewhere. When you sense this lack of lyricism around, it seems odd that the writers could have rested all their poetry into one character. And not even a principal one at that. Gulabji is at best the Chandramukhi to her shaved Das (from no assigned period of course). She appears for a few minutes. She narrates this story of unrequited love. The film has no setting either, much like Bhansali's last (Black).

The director does make it clear this time though, that the silly special effects of a place unknown (and other well-lit wood-work you see) are merely of the narrator's imagination.

The hero sings at a bar called RK. The rain, the black-umbrella and the Chaplin-hat come from the same studio the bar pays its tribute to. So does the hero initially, borrowing in heavy doses mannerisms from his late grandfather, Raj Kapoor.

The similarities end there. This is in every way a faux, affected Broadway or West-End musical shot on 70 mm celluloid: the way the West naively assumes a Bollywood movie is. I am not surprised Sony Pictures, a top Hollywood studio, green-lit this as their entry into Bombay cinema.

Bhansali carefully chose his leading couple from the mom-and-pop store movies in Mumbai get made from. The move made commercial sense. He gives them instead much less scope to prove any skills. Ranbir spends most of his screen-time a self-aware drama-king. Sonam remains forever a dimpled, grinning portrait of awkward reticence that's passed off for feminine charm.

The picture itself then is merely a post-card, where every passionate aspect draws attention to itself, but the protagonists, or their intimate story. The dirt from the carpet blowing in the wind as the leading lady walks through it; the white clock tower that faces the imagined town; the huge bust of Buddha by it…

You notice everything, but care least for the two reasons this was probably intended as a tale of blind, idealistic love. The director is evidently busy proving himself as the master of images. It is much easier to connect with choreography, song or architecture; harder to appreciate them so disjointed or disconnected from an emotional core. Sensations are undone by cinematic ambitions. And you can rarely tell a tingling warmth beneath that grand, cold ornamentation.

Fyodor Dostoevsky may have disapproved. So perhaps Luchino Visconti or Robert Bresson, both directors who have filmed the Soviet writer's short-story (White Nights) before.

Before the publicity-industrial complex from Patna to Piccadilly Circus took over in 2005, Bhansali's Black was largely a moving film. Overrated; yes. But that's a knock on the rating. Saawariya is not even vaguely poignant, touching or weepy. It misses you almost entirely. The review ends here. May the myth prosper!

http://www.mumbaimirror.com/net/mmpaper.aspx?page=article&am p;sectid=15&contentid=200711092007110902551128181cc860e

 

REVIEW: SAAWARIYA belongs to Ranbir

Abhishek Mande | Buzz18

The film has it flaws, but it is easy to fall in love with Ranbir

What the film is about

When one adapts the written word to the camera, the plot does not remain as important as it would have in an original screenplay. It is hence that the story of Saawariya has nothing much to offer. One carefree bloke Ranbir Raj (Kapoor) thinks he is head over heels in love with a damsel (yet another Kapoor) who he's met one fine night on a bridge. Needless to say the bridge has some troubled waters flowing beneath in the form of her faraway lover Imaan (Salman). And the chap has four nights to woo her or lose her forever. Then of course, there is the prostitute with a heart of gold, Gulabji (Rani with a wrong spelling of her last name in the opening credits) who also acts as a narrator of sorts of the film.
What we liked about the film

The film tends to grow on you. If you have the patience to sit through the first half, chances are that you will walk out of the cinema hall smiling. Also the music, may not have appealed only for itself. But the picturisation works wonders and that is possibly the strength of the movie itself. There are songs that make you cringe and affect the pace of the film drastically. But there are those, which almost seem to hold the film. The plot after all, is adapted. And hence it is the treatment that gains importance. Yes, there is a lot of hamming in the movie. But if we can still go back to films like (blasphemous as it may sound) DDLJ all over again and fall in love with Shah Rukh Khan, why not give this one a chance? Ranbir Raj can possibly never replace Raj Malhotra. But that does not mean he isn't good. Kapoor does a good job and hopefully should have a good career ahead. Ditto for Sonam, though one believes she could've done far better.

What we didn't like about the film

Being attached to the raw footage can be very dangerous for an editor. It is the distancing that often helps create perspective; after all most movies are made on the editing table, aren't they? The hitch here is Bhansali has edited this film himself. And evidently the man is quite possessive about the frames he has shot. Although the film isn't as long as it may seem, it drags horribly. It is because of this that the hamming (which if one may say is partly necessary in a film like this one) gets to you. A well-told story can go on for hours. But like many others, Bhansali too falls for stereotypes and clichs. The prostitute, and Raj's visit to her after he's been turned down by Sakina is just a case in point. Indeed, Saawariya has its strengths. But the weaknesses are just as overbearing. It depends on what you choose to look at.

Verdict

Not all films can be measured by the same yardstick. The key is to pick the right one before judging it. We'd recommend you watch the film and possibly you'll find yourself waiting for the DVD too.

Rating 3/5

Movies

Saawariya opens on the South African circuit

by Ailsa Windsor 08 November 2007

Saawariya opens on the South African circuit this weekend. It's a Bollywood version of 'Romeo and Juliet ' crossed with 'Moulin Rouge' – three hours of engaging watching

Starring: Ranbir Kapoor, Sonam Kapoor, Salman Khan and Rani Mukherjee A lthough there were a few grumbles in the cinema about the length of the movie, 'Saawariya' engaged most of the audience who at the end said they couldn't wait for a sequel. The movie tells the tale of unrequited love between a 'lady of the night' and a struggling musician, the later on the other hand is head over heels with a beautiful young girl who in turn has waited a year for her lover's imminent return …. Quite a mlange! 'Saawariya' (meaning 'beloved') has all the standard Bollywood ingredients but it stands out for me because the characters are magical rather than farcical. With sets reminiscent of 'Moulin Rouge' we travel to RK's Bar where Gubji  ( a lady of the night) reminisces over the love of her life – Raj, a travelling musician who lives with his head in the clouds and dreams of meeting an angel.   And that he does –Sakina is the girl of his dreams – a stranger he meets crying upon a bridge in the dead of night. He even gives up his promising career at RK's just to spend time with her. But the story is so much more it tells of a man who is on a quest for a perfect world – one where sadness doesn't conquer and happiness is the order of the day.  There is a magnificent scene where he shows Sakina how to fight off the sadness. Raj brings joy to all he meets – be they the prostitutes, Sakina or 'Lillipop' the little old lady who opens her heart and home for him. Newcomers Director – Sanjay Leela Bhansali went on a search for new talent for this 'exotic love story'. The brief was 'fresh, youthful  energy and joy'.  These he found in Ranbir and Sonam Kapoor.  'they became like my children,' he said. 'They gave me a fresh perspective on life and film'. In addition he used a novice musical director – Monty Sharma who spent more than two years perfecting the 10 songs for the film. 'There were many firsts in this film,' he said. 'I  introduced two new singers– Shail Hada and Parthiv Gohil, and I also roped in Anuradha Vakil and Rajesh Pratap Singh to do the costumes, and it's the first time that these two well known designers have designed for film. ' Do yourself a favour a treat yourself to a wonderful romantic evening at the cinema.

Saawariya
09 Nov, 2007 09:43 am ISTlPraveen Lance Fernandes/INDIATIMES MOVIES

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Saawariya
Cast: Ranbir Kapoor, Sonam Kapoor, Zohra Sehgal, Rani Mukherjee, Salman Khan (sp. Appearance)
Direction: Sanjay Leela Bhansali
Critic rating:
< name="voteresult" marginwidth="0" marginheight="0" ="0" ="0" align="top" border="0" height="60" scrolling="no" width="200"></> <>downshowrating=1One half of the two major releases this Diwali, there are major expectations from Sanjay Leela Bhansali's Saawariya ; one reason being that it marks the debuts of Anil Kapoor's daughter Sonam and Rishi Kapoor's son Ranbir. Do the youngsters live up to the acting prowess of their parents? Read on...

Cutting through the chase, Saawariya is a visual brilliance even though the plotline is very thin. The sets are very imaginative and the larger than life experience that Sanjay Leela Bhansali's gives the audience in every film is now down to earth but with something really magical. The performances are beautiful and though you cannot include this to be out of the world cinema, it does relocate you into another world.

Ranbir Raj (Ranbir Kapoor) is a young musician in a very artistic city. Always zestful towards life he is the lead singer in RK Bar. He may not have much money but like he says, he has the will to spread joy. Befriending the local prostitute Gulab (Rani Mukherjee), he gets to stay at an old lady's (Zohra Sehgal) place. One fine day he comes across someone who completely takes his breath away. She is crying and waiting for someone. Who is this girl that Raj has been mesmerized by? As he pursues her, he finds out that she is Sakina (Sonam Kapoor) who is on the lookout for something. Mysterious in nature, Sakina is all that Raj yearns for. Using his genuine boyish charms he makes friends with Sakina but his wonderful world comes crashing down when she reveals to him about her lover (Salman Khan) who promised to come back to her after a year's time. Raj is shattered but at the same time doubts the credentials of her lover. Has he run away after making an empty promise of returning?

The highlight of the film is the young innocence present in the two main characters. They dance to choreographed songs with extras behind them; they are in love but it's not two way; It's all been seen before but not like this. That's where the screenplay comes into play. Small things and incidents between the two characters radiate so much bloom that it's difficult not to fall in love with the two.

Rishi Kapoor made a huge splash in Bobby and his son doesn't let him down. Ranbir makes the debut of a life-time and it is evident that another member of the Kapoor clan has arrived. He is not the polished clean-shaven stud but a young boy with a heart of gold who is deeply in love. Here's a new-comer to definitely watch out for. Sonam too emotes perfect expressions for her part and looks very beautiful. Kudos to Sanjay Leela Bhansali for getting the best of out the two.

Visually this is Sanjay Leela Bhansali's best film to date. A very simple story told in a beautiful way and Bhansali lives up to his tag of being a master craftsman. In fact you get a theatrical feel while watching the film. The sets are beautiful and you just cannot keep your eyes of them. The dialogues are simplistic- just what is required in this film. No high dosage of heavy dialogues here.

However, there are excessive songs in the film. In an age where anything above 15 reels gets boring, Saawariya could have easily been shortened by at least 30 minutes. However, Monty's music is pleasing to the ears and it's good to hear melody rather than DJ remixes after a long time.

Rani plays a prostitute once again after Laaga Chunari Mein Daag and manages to do a much better job this time though one cannot completely explain her presence in the film. Salman Khan reminds you of his other special appearance in Saawan, Garv- Pride and Honour and numerous other serious films that he has acted in before- nothing new. Zohra Sehgal is terrific once again after Cheeni Kum .

Sweet innocence has returned once again to Bollywood and Ranbir and Sonam are part of it. Though the film is slow at several places, one cannot forget that there is freshness in Saawariya that hasn't been seen in a very long time. If you loved the purity of Qayamat Se Qayamat Tak , then you are bound to love film as well.

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Saawariya: Self Indulgent Tedium!  

11/9/2007 7:27:14 AM 

Film: Saawariya

Director: Sanjay Leela Bhansali

Cast: Ranbir Kapoor, Sonam Kapoor, Rani Mukherji & Salman Khan

Rating:   (Hmmm)

Self conscious and self indulgent. That's Saawariya in a nutshell for you. It is the story of a filmmaker who once upon a time had considerable talent. But the twist in the tale comes when he starts having delusions of genius. He believes he can suspend everything - time, logic and general cinematic sense and sensibility, and actually be commended for it. That actually is the story of Sanjay Leela Bhansali. But it has everything to do with why Saawariya is a strange, disconnected and utterly pointless film. Labouring under the tedium of self proclaimed genius and all its affectations.

Saawariya is set in no particular time zone or place. Its characters wander around in a claustrophobic, obviously expensive & overwhelmingly blue set, and speak a strange mish mash of modern day city English and shudh Hindi. The young protagonist is a cheerful tramp who sings in RK bar, and is called Ranbir Raj. Yes, the makers don't obviously believe in subtlety - they make quite sure that you can't miss the fact that the young debutant, Ranbir Kapoor is the Raj Kapoor's grandson! In fact they rub your nose in it till you want to scream that you got the point and they should just get on with it! Anyway, Ranbir Raj meets Sakina - a young Muslim girl who flounces around in backless cholis, carries an umbrella and is waiting for the man of her dreams. Which unfortunately is not Ranbir - so what if he prances around half - naked in a towel? That don't impress her much. Nor us actually for that matter!

Saawariya is based on a short Russian story, White Nights which was set in the 19th century. Sanjay Leela Bhansali takes an essentially sweet and simple love story and drowns it in a chaos of noise and colour. Making a pretentious, stilted hash of it. Forget the strange unreal setting and the wafer thin characterization. Even as a pure love story, Saawariya fails to connect - you feel no empathy for any of the characters. It is hard to imagine that the same film maker ade 'Khamoshi' and 'Hum Dil De Chuke Sanam!'

Now for the burning question - are Ranbir Kapoor and Sonam Kapoor the superstars of tomorrow? On the basis strictly of this film, the answer would have to be no. Ranbir tries very hard but he has to stop making faces and he has to stop wearing his lineage on his sleeve! Sonam Kapoor had to look pretty, giggle and cry throughout the film. She does ok on all three counts, but both these star kids needed a more sensible launch pad. Not one bogged down by bizarre pretension and hype. Not one where the grotesque art direction takes over the film making. And definitely not one where self indulgence takes over sense and sensibility! Saawariya does all of that and more ...

The E NOW WEEKEND rating is two stars, and we are being generous!

(REVIEWED BY NAOMI DATTA. For more reviews and interviews watch E NOW Weekend on Saturdays at 10:30 PM & Sundays at 5:30 PM )