I can't just recall when in recent times I would have campaigned for a movie so wholeheartedly. I surprise myself. My reaction and my response surprises me going by the cast, and I think it stops at that. Nothing done by the duo barring her mind blowing Dolly Mishra and mysterious Meera had prepared me in anyway that the movie could find so much favour from me. Would I count this movie in my picks? Negative. Would I label this path breaking? Negative. But somewhere the honesty surfaces amidst all the familiar flourishes we so want, and we so are used to. It is precisely where a right mix of predictability and unpredictability takes you by delightful surprise. It is where city merges with town so seamlessly that I am already in awe. Or wait! is it because of the true to life depiction of train episodes and railway stations? I don't know and my word shouldn't be taken for it for I have natural fetish for trains and trains in movies. No I am not even going there.
Imtiaz's work doesn't do without the customary songs and dance numbers set to them. It has them and has them in abundance. But where a "Mauja hi Mauja" alternates with Mohit Chauhan's "Tum Se Hi", you give it to them. You give it to them when Nataraj "Nutty" Subramanian reins himself well. You also give it to them when you have forgotten mathematically the number of twists and turns in the tale because you are so engrossed in the fare that you couldn't care less. When pages of dialogue are replaced by conversational gems, you feel good. When blues and yellows and blues and oranges alternate, you feel happy. You feel good when you write something about it just from the recall value and read nothing about it in abundance probably; and also when you have not looked forward to it because it is not worth your time and space.
You feel good penning about something which self admittedly isn't up there actually yet leaves a mark so utterly indelible. You feel good when Ms.Kapoor blows you away with her on screen persona making you crave more.
When Mr.Kapur pitches in such a restrained antithetical show, you are relieved because somewhere you want Ms.Kapoor to hog the limelight. Limelight she does hog, for this is truly hers. She does well in reminding me of my own imaginary muse.
aaah! that flute piece in Ustad Rashid Khan's "aaoge jab tum"...
Imtiaz's work doesn't do without the customary songs and dance numbers set to them. It has them and has them in abundance. But where a "Mauja hi Mauja" alternates with Mohit Chauhan's "Tum Se Hi", you give it to them. You give it to them when Nataraj "Nutty" Subramanian reins himself well. You also give it to them when you have forgotten mathematically the number of twists and turns in the tale because you are so engrossed in the fare that you couldn't care less. When pages of dialogue are replaced by conversational gems, you feel good. When blues and yellows and blues and oranges alternate, you feel happy. You feel good when you write something about it just from the recall value and read nothing about it in abundance probably; and also when you have not looked forward to it because it is not worth your time and space.
You feel good penning about something which self admittedly isn't up there actually yet leaves a mark so utterly indelible. You feel good when Ms.Kapoor blows you away with her on screen persona making you crave more.
When Mr.Kapur pitches in such a restrained antithetical show, you are relieved because somewhere you want Ms.Kapoor to hog the limelight. Limelight she does hog, for this is truly hers. She does well in reminding me of my own imaginary muse.
aaah! that flute piece in Ustad Rashid Khan's "aaoge jab tum"...
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