Movie Review SARBJIT Is Hard Hitting Real Life Social Drama
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Friday, 20th May 12:05 PM IST
Pluses:
Aishwarya Rai is refreshing and impressive, Richa Chaddha is decent, Randeep Hooda is best part of the film, high octane drama Minuses:
old school over dramatic direction, art direction is inconsistent
Critic Rating: 3.5/5
Business Rating: 2.5/5
Verdict:
Watch it for real life dramatic moments
Detailed Analysis:
Aishwarya Rai has flops as solo actress i.e. 'Jazbaa' in October, 2015. Now she is back with huge biopic 'Sarbjit' but this time with director Omung Kumar who directed successful 'Mary Kom'. Saru, full name Saraswati, is an obedient daddy’s girl. Inder is a broody, massively-tattooed loner. And ‘Sanam Teri Kasam’ , not to be confused with the ’82 film of the same name, is a manual of how Not to make a contemporary romantic film. Picture this: a heavy-handed father who thunders, flinging out instructions on how wife and daughters ought to behave. Falling in love with an unsuitable boy, ‘aiyyo rama’. Acting on your own will, ‘parmeshwara’. Doing what your heart tells you to, ‘aaj se thum mere liye marr gayi’. Which leaves Saru (Mawra Hocane) to smile, simper, weep. Hesitate. Propitiate. And to look at her stony-faced father (Chowdhary, trying very hard to be a credible South Indian patriarch and failing) who’d rather conduct a wake than understand his daughter’s desires, and wait for his ‘permission’ before she can take a step forward. (Read: Ghayal Once Again, Sanam Teri Kasam to clash at box-office today) Inder (Harshwardhan Rane, armed with impressive bod, limited expression), who has daddy issues of his own, scowls and growls. The deep hurt caused by his dad is revealed much too late, and much too cursorily. The rest is filled by these two unlikely characters—Inder and Saru—developing feelings, over a brain tumour, impending tragedy, and more tears. - See more at: http://indianexpress.com/article/entertainment/movie-review/sanam-teri-kasam-movie-review-mawra-hocane-harshvardhan-rane/#sthash.KJQmFWcV.dpuf
Sarbjit Singh (Randeep Hooda) lives in a village near Punjab with his wife Sukhpreet (Richa Chadha), sister Dalbir Kaur (Aishwarya Rai Bachchan) and father. He also has two daughters Poonam Kaur (Ankita Shrivastav) and Swapandeep Kaur. He was a farmer who worked in others farm and earn livelihood. One day he gets arrested by Pakistani army for crossing the border unknowingly. He is tortured in the Pakistani jail to death and convicted as Indian Spy and named as the person behind bomb blasts in Lahore city of Pakistan. He is alleged as Manjit Singh in Pakistan who is the main culprit behind the blasts. Sarbjit’s sister Dalbir fought with the Pakistani Government for nearly 23 years before Sarbjit being declared as innocent. Sarbjit’s case is fought by Awais Sheikh (Darshan Kumaar). He with the help of Dalbir tries to find a way to prove Sarbjit innocent and catch the real culprit Manjit Singh. But after Sarbjit being declared innocent given bail, he gets attacked in the jail where he gets badly injured and is hospitalized followed by his death. Saru, full name Saraswati, is an obedient daddy’s girl. Inder is a broody, massively-tattooed loner. And ‘Sanam Teri Kasam’ , not to be confused with the ’82 film of the same name, is a manual of how Not to make a contemporary romantic film. Picture this: a heavy-handed father who thunders, flinging out instructions on how wife and daughters ought to behave. Falling in love with an unsuitable boy, ‘aiyyo rama’. Acting on your own will, ‘parmeshwara’. Doing what your heart tells you to, ‘aaj se thum mere liye marr gayi’. Which leaves Saru (Mawra Hocane) to smile, simper, weep. Hesitate. Propitiate. And to look at her stony-faced father (Chowdhary, trying very hard to be a credible South Indian patriarch and failing) who’d rather conduct a wake than understand his daughter’s desires, and wait for his ‘permission’ before she can take a step forward. (Read: Ghayal Once Again, Sanam Teri Kasam to clash at box-office today) Inder (Harshwardhan Rane, armed with impressive bod, limited expression), who has daddy issues of his own, scowls and growls. The deep hurt caused by his dad is revealed much too late, and much too cursorily. The rest is filled by these two unlikely characters—Inder and Saru—developing feelings, over a brain tumour, impending tragedy, and more tears. - See more at: http://indianexpress.com/article/entertainment/movie-review/sanam-teri-kasam-movie-review-mawra-hocane-harshvardhan-rane/#sthash.KJQmFWcV.dpufSaru, full name Saraswati, is an obedient daddy’s girl. Inder is a broody, massively-tattooed loner. And ‘Sanam Teri Kasam’ , not to be confused with the ’82 film of the same name, is a manual of how Not to make a contemporary romantic film. Picture this: a heavy-handed father who thunders, flinging out instructions on how wife and daughters ought to behave. Falling in love with an unsuitable boy, ‘aiyyo rama’. Acting on your own will, ‘parmeshwara’. Doing what your heart tells you to, ‘aaj se thum mere liye marr gayi’. Which leaves Saru (Mawra Hocane) to smile, simper, weep. Hesitate. Propitiate. And to look at her stony-faced father (Chowdhary, trying very hard to be a credible South Indian patriarch and failing) who’d rather conduct a wake than understand his daughter’s desires, and wait for his ‘permission’ before she can take a step forward. (Read: Ghayal Once Again, Sanam Teri Kasam to clash at box-office today) Inder (Harshwardhan Rane, armed with impressive bod, limited expression), who has daddy issues of his own, scowls and growls. The deep hurt caused by his dad is revealed much too late, and much too cursorily. The rest is filled by these two unlikely characters—Inder and Saru—developing feelings, over a brain tumour, impending tragedy, and more tears. - See more at: http://indianexpress.com/article/entertainment/movie-review/sanam-teri-kasam-movie-review-mawra-hocane-harshvardhan-rane/#sthash.KJQmFWcV.dpufFilm has very emotional tragic plot. But at times film went in over dramatic mode with very high handed treatment. Film does not hold any interest after interval point as you know the ultimate end.
Film has sharp editing. Background music is cliche and loud. Cinematography is average, production design is apt and costumes fit the bill. Songs are decent and classy.
Director Omung Kumar delivers a super film again but still falls short in terms of crispy treatment and modern approach. His tendency to make scenes over the top is visible which was the case with his debut film too. Film will release today and it will get decent reviews and it should get good opening as its a solo release. Film has to score 32-35 cr at box office in order to break even and that seems certain at the moment as it should do good business in metros.
Go for this one for slice of life which is not that rosy! | |