They don’t start thier bike because it can wake Sonakshi or her father.
Take the example of that scene where Ranveer and his friend left Sonakshi Haveli. The way he construct ‘Meri jaan Toote main basi hai’ story and Leaf painting sequence, The way he build up imotions for the climax is the proof of what a great storytaler motwane is ? His eyes for detail is also unmatched. This film sometimes reminds you our epics like where everything is corelated. Director gave viewers time to feel the imotion and to see within. There are to many scene in the film where there are no dilouge, no dramatic music. The Bottomline is this that after watching lootera you understand that Silence to speaks. I will not go in the story detail as most of the people know it and it can play spoiler alert. Aap is baat per bhi bharosa kar sakte hain ki Kalyug main bhi Devi-Devta avtaar lete hain kyonki Lata ji ki aawaz main sakshat Saraswati Vaas karti hain” Same thought came in mind watching an expeirence called Lootera. I wrote “Agar aapke ander ab bhi kuch Dhawal (Safed, White) aur Shuddh (Pure) bacha hai to aap Lata ji ki aawaz main use mehsoos kar sakte hain. Story – Alsmost a decade ago, during my IIMC days, i wrote an article on Lata Ji. Rs 100 crore anyone?Ĭaveat – I am not a pandit on cinema as some others in this forum so it is not a review but just my feeling after watching Lootera. Only Raanjhanaa is a more palatable mirror that makes us accept things than question them. If love brings out the worst in lovers here, so it did there. If this shows us ‘reality’, so did that. Here it gets as warped as another recent, though much reviled, film set in another UP town-Ishaqzaade. The backbone of any good romance-reciprocated or not-is the dynamics of the lovers. One whom any woman would be entirely justified in snubbing and turning her back on. If only her character had been given more layers, Kundan, perhaps, wouldn’t have come across as just a cute, endearing, idealised version of a painfully persistent, possessive, obsessive, suffocating guy that he essentially is. The heroine will have to remain content shouldering the blame and guilt when she finds her chance to strike back. Even the journey to redemption (set in the asininely handled world of JNU-Delhi politics and a cringingly laughable take on the fiery Bhatta Parsaul issue) is reserved for the hero. On the other hand, Zoya doesn’t go beyond the haughty, cold, heart-breaker mould. The one for whom we reserve our affection and sympathy despite his unforgivable trespasses. Kundan is built up as the quintessential underdog, across a religious, class and love divide (played with an infectious, charming energy by Dhanush). Before you can say “love all”, the game gets entirely one-sided and manipulated.
They are both wicked and there’s a tantalising anarchy underlying their passion that holds promise and potential of a very unique love story to emerge. She wouldn’t reciprocate, but use him emotionally for her own good. He’d go to any extreme extent for it-stalk her, blackmail her, serve Rooh Afza and Rasna in her engagement party, even take to violence. Of one-sided, unrequited love that Kundan nurses for Zoya (Sonam). Raanjhanaa made for one such unusually disquieting, ambiguous viewing.Īnd then there’s the real issue. Once in a while comes a film that engages and holds your interest in the same measure as it perturbs and agitates.
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