Friday, 27th May 12:05 PM IST
Kalki Koechin is impressive, Naseeruddin Shah is decent, director Anu Menon displays command over craft
at times too melodramatic, editing needed to be sharper, dialogues are unimpressive
Watch it for heart wrenching moments
Kalki Koechin has given some critically acclaimed films like 'A Girl In Yellow Boots' and 'Margarita With A Straw'. Now she has yet another poignant film with Naseeruddin Shah.
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.
Film traces two strangers – Tara and Shiv – who develop a heartwarming bond as they struggle through the long wait for their spouses to recover in a hospital. Directed and written by Menon, the movie is a warm narrative about an otherwise heart-rending situation that Bollywood would love turning into an unending melodramatic trip.
Shiv has been in the hospital for eight months nurturing hopes that his wife, Pankaja (Suhasini Mani Ratnam), will wake up from her coma and lead a normal life with him again. Tara, on the other hand, comes to the hospital after her husband Rajat (Arjun Mathur) suffers a critical brain injury in a road accident.
Shiv and Tara represent two different sides of human nature – while one is hopeful and determined about what he wants for his wife, the other is angry and unsure of what she is supposed to do.
Shiv brings with him age, wisdom and calmness while Tara is youthful, passionate and vibrant. Menon plays upon this disparity with charming dialogues.
Film has very emotional tragic plot. Film remains in subtle mode for urban audience. Film does not hold any interest after interval point as you know the ultimate end.
Performance wise, Kalki Koechin solely lifts the film. She walks like one tortured soul, has right intensity and her nuances are perfect, his mature expressions and performance are awesome. Naseeruddin Shah is also very good but her old issue of looking disinterested do come in the picture again and again.
Film has lazy editing. Background music is cliche. Cinematography is average, production design is apt and costumes fit the bill. Music is average.
Director Anu Menon delivers a compact film in terms of crispy treatment and modern approach, easily couple of notches better than her debut film 'London Paris New York'. She has western style of keeping the emotions buried under the frame, exactly opposite to what we have witnessed in last two weeks with Omung Kumar and Tony D Souza.
Film will release today and it will get decent to good reviews but it will get below par opening plus it has half dozen films at box office to compete with. Film will struggle to cross 7-10 cr at box office in order make a mark but that seems difficult.
Go for this one for slice of life which is not that rosy!