Karisma at her dazzling best
DIRECTOR Shyam Benegal once again takes up the challenge of portraying human emotions and the ups and downs in a woman’s life, this time in a period piece with FKR Productions’ Zubeidaa. The story centres around a young man’s search for his mother, who deserted him at a very young age in the pursuit of happiness and a regal lifestyle. For the first time, Shyam Benegal has everything at his disposal -- a huge canvas and the best available talent -- and he has tried his best not to deviate from the usual style of filmmaking, remaining rooted to the commercial feature film format to ensure a broader mass appeal. The film does pass muster, though one misses, if only occasionally, the depth of emotions that are characteristic of the vintage Benegal.

Benegal, no doubt, has extracted the best from all his characters and has come up with meaningful fare, despite the mainstream format of the film. Zubeidaa (Karisma Kapoor), the daughter of a studio owner Suleman (Amrish Puri) aspires to become first a dancer and then, a movie actress. Her dream of working in film is dashed when she’s hurriedly married to the son of Suleman’s friend from across the border. The marriage doesn’t last long as Zubeidaa’s Pakistani husband finds it tough to adjust to life in India. He wishes to take Zubeidaa and her newborn son back to Pakistan. When Suleman objects to the idea, Zubeidaa is given a talaq. The beautiful young Zubeidaa is shattered by the divorce.

She is helped by her friend Rosy (Lilette Dubey) to find a new man in her life. During the course of a polo match, the prince of Fatehpur Vijayendra Singh (Manoj Bajpai) is introduced to Zubeidaa. The prince is struck by the beauty of her and instantly proposes to marry her. Zubeidaa too desperately looking for love accept the proposal. Though her family resists her decision, they finally approves and say she can go with the princess but her little son will remain with her. Once in Fatehpur, she is introduced to the razmattaz life of kings and queens. She is well taken care by the Rani of Fatehpur Mandira Devi (Rekha). But she starts missing the prince when he is on an election trail where his first wife accompanies him fearing a communal backlash of marrying a muslim.

This torments Zubeidaa a lot as she is also treated like a keep by the prince’s younger brother. After winning the election, Zubeidaa insists on going with the prince to Delhi and both perish in a air crash and thus becomes history.
It’s Karisma’s film all the way, and she has come up with a dazzling, extraordinary effort that puts even her performance in Fiza to the shade. Especially memorable are the scenes of the divorce, and the one, towards the end, where she insists on accompanying the prince, like a helpless little girl. In fact, the film could have done with a few more powerful scenes and moments such as these that really touch the heart.

Manoj Bajpai doesn’t quite fit into the mould of a prince, though he still comes up with a fairly convincing effort. Rekha, in a brief role, brings in a whiff of royalty and class, with a matured performance as the prince’s first wife. Amrish Puri and Surekha Sikri Rege lend very good support. Shakti Kapoor as the dance master of the 50s, essays a serious role for the first time, and manages to impress the viewer.

Director Shyam Benegal has often been criticised for making films for the elite, but here, he comes up with a film that even the masses can relate to and appreciate. The first half is fairly engrossing. But though the latter half of the story moves at a fairly brisk clip, it tells very little about Zubeidaa.

AR Rahman’s soulful music gels with the mood of the film and he deserves to be commended on his effort to recreate the music of 50 years ago. Dheeme dheeme and Main albeli are the pick of the lot. Cinematography by Rajan Kothari is of the highest order. Khalid Mohammed’s story is the very life and soul of the film. Costumes by Pia Benegal and art direction by Samir Chanda contribute in no small measure to giving the film a period feel.

Padmaraj Nair
raajnair99@hotmail.com

Kuch Khatti Kuch Meethi

Twin tracks and parent traps
Rahul Rawail’s just released Kuch Khatti Kuch Meethi is a sister act with a difference. The sisters are identical twins who have been separated at birth by a conniving step-aunt and whose mission in life after an emotional reunion is to settle scores with her and her entourage. A sequel to Chaalbaaz, a millennium version of Do Kaliyan and Seeta Aur Geeta II, so what’s new? Only that since Rahul has also drawn his muse from the Hollywood hit, The Parent Trap, the twins have to plot and plan the reconciliation of their estranged parents too.

Mom after stomping out of the family home 20 odd years ago after being accused of getting over-familiar with a college pal, has been successfully running a departmental store in London. Papa at the other end of the globe is drowning his sorrows in vintage Johnny Walker and leaving his didi and company to make merry while his tangy Sweety tramples all over his affections and her birthday cake. When her aunt tries to send her packing with her choice of groom, Sweety drops her pallu, peels off her sari and turns on her prospective in-laws with all the vengeance of a crazy virago.It’s one of those "mad" moments that makes the film worth a dekko.

Cut to Glasgow where Sweety has stomped off after a lashing by her bau. Glasgow is also where the other twin Tina heads to crack a deal for her momma. The comedy of errors that follows a case of mistaken identity serves its purpose in bringing Tina and her tough-guy lover together and little else. The fun begins after the intermission when Sweety and Tina after a kuch khatti kuch meethi reunion on the streets of London, trade places. Sweety who’s grown up with the an alcoholic papa for company, wisely opts to stay back in the Queen’s country and wrestle with some local thugs. Tina who’s all sweetness and sunshine, slips on her truant twin’s nose-ring and hops on to a plane to speed up papa’s rehabilitation. Once he’s freshly shaved and on fresh fruit juice diet, she gives Sweety the go-ahead to bring mom home.

Mom makes a raging re-entry just when didi dearest is getting ready to hitch papa up with a winsome whore who pops viagra pills into paans but ends pregnant with the wrong man’s baby. To stop mom from making another raging exit, the twins enlist the support of the immigrant who brought them together and been rewarded with Tina’s tempered affections. Slipping into the role of his non-existent papa, Tina’s honewala hubby has the warring mom singing long-forgotten ditties and knotting her husband’s tie. However, eventually it is not her children’s crazy capers and teary dramas that stops her from winging back to London and her single, successful life but a stinging slap from hubby. Incidentally, it was a slap that had her walking out of her home all those years ago as we were informed through a creative shadow play that made for an inventive beginning to a oft-told tale of tales. Obviously, chauvinism hasn’t lost it’s sting yet! Not in Hindi cinema.

Rahul Rawail’s twin tamasha thrives on Kajol’s zest and zing. The impetuous actress is slightly overweight and quickly loses interest in the Venus William braids and dribbling bindi that started out as the distinguishing traits of the terrible twin, but when she’s on screen she makes you forget such trivialities. She weeps and waltzes with equal ease and has you cheering her on as she gets into one crazy caper after another. In the presence of this quick change Ariel, Sunil Shetty saddled with an ill-defined roles pales into a wan shadow and even the versatile Rishi Kapoor at times is hard put to hold his own.

Rati making her comeback after a 15-year-hibernation, is feisty and fiery. Her wardrobe is trendy and she refuses to tread the beaten path of the long-suffering, forever-sniffling, streaked-with-gray stereotype. As a glamourous mom and not-to-be-taken-for-granted wife, she is a welcome change.
Mita Vashisht as the step-sister does her best to add a dash of wantom sexuality and whipped-up wickedness to the familiar role, but at the end leaves one feeling sorry for a talent wasted.

Pooja Batra surprises as the no-inhibitions-barred hourie who after this special appearance may find it difficult to get another film as a heroine. But as a saucy siren she’ll have many takers.

A French beard and half-a-dozen dark suits aren’t enough to add a dozen years to Parmeet Sethi’s age. It’s ironical that this still-young actor who was ready to wed dulhaniya Kajol only three years ago is today her Ranjeet uncle. How times have changed!

Razzak Khan as the Viagra popping veteran whose sudden resurgence of sexuality brings him out of his senility, manages to raise some amused titters.
Anu Malik’s score is no great shakes but Kajol’s charm makes the songs sparkle. Kuch Khatti Kuch Meethi is undoubtedly Kajol all the way.
Roshmila Bhattacharya
roshmila@hotmail.com

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