With the exception of the last weak ten minutes, Guru can be described as a perfect film, error free, beautifully written and directed, beautifully played. The subject is not new to us in the West the triumphant ascent mode and with little clear of a self-made man and the setting chilling manufacturing of polyester can you imagine something more soporific, it does not scratch the excellent quality: Guru deserves to be included in the list of the best films of all time.
The film is above all a feast for the eyes. Ratnam is back to give us breathtaking natural scenery, and the cinematographer of the excellent Bombay, Raja Menon, contributes significantly to enhance the artistry of painting. And then the sets, the choreography, the shots, the reconstruction of a love Mumbai which now belongs to the past, and not least the incomparable beauty of Aishwarya Rai. But it is not only the eyes to be bombarded by the splendor of this film. Guru captivates without a moment of boredom, thanks to a fun protagonist cheerful and light-hearted and dynamic dialogues, excites offering numerous sequences of great cinema, complaint, raises ethical dilemmas.
The screenplay does not miss a beat, and it effectively tells the tumultuous changes taking place in contemporary India. The dialogues are among the best in the history of this film, with jokes to treasure the memory. The characters are, along with sublime photography, the most valuable of Guru real, human, multi-faceted, not just good, not just bad. It stands out on all the figure of Guru: vital, exuberant, energetic, but also dishonest, aggressive, little inclined to moral reflection.
And one of the most unique aspects of the film is the relationship of conflict and blood that is established between the protagonist and Nanaji, a relationship that does not break despite the deep divisions and struggles that will see them fight in opposing sides. The direction and the shots are from the manual. The interpretations unforgettable. The soundtrack magnificent and indispensable.
A round of applause for Mani Ratnam directed and the screenplay, Raja Menon for photography, Vijay Krishna Acharya for dialogues, to Abhishek Bachchan, Aishwarya Rai to. And thumbs down to the usual short-sighted distributors for joining us once again deprived of the chance to see on the big screen is not a film but a work of art. The masterpieces of this caliber do not need special effects and 3D technology: win with their excellence.
The film tells a story that spans three decades. In 1951, the young Guru (Abhishek Bachchan) emigrated to Istanbul in search of work. But has a dream: to start his own. As an adult, accompanied by his wife Sujata (Aishwarya Rai), we test in Mumbai, extricating between corporate rules and difficulties of various kinds. Our hero does not give up. And do not take no for an answer. Even if it means bribe, cheat, cheating, breaking the law.
Abhishek Bachchan. Superb, uncontrollable, natural. We instantly fell in love with its magical, optimistic Guru, when he plays a joke of the school bell, when he dreams of the future of swinging, to admire pleased when the fat around the abdomen. But especially when she shows her excellent technique in the game of golf ...
Aishwarya Rai and her unattainable beauty, its unsurpassed elegance. In the beautiful choreography of Barso Re and Tere Bina is unclear why Ash is the main cause of insomnia for half of the male population of the planet. Its the best joke in a script packed with memorable dialogue: 'You know it's already morning in many parts of the world? Can not think of anything else to this village? '. Words that perfectly sum up the message of the film.
The agreement is full of warmth shared by Abhishek and Ash, in love for real: officially announce their engagement two days after the distribution of Guru . Unforgettable exchanging jokes to the station ( video ), the opportunities you are looking for, the effusions stolen, skirmishes night ( video tamil version). Ammirateli in Tere Bina . Great couple, on screen and in life.
Vidya Balan and his painful performance. The irresistible smiles, the sweetness of the look, the powerful description of a disease that devastates the strenuous attachment to life. And the bitter, desperate kiss. Vidya plays a minor role, but enough to give some of the most intense moments of Guru .
Despite the director put bravely exposed the crimes perpetrated by the industrial sector, suddenly at the end prefer to withdraw and paint as a hero, a man who justifies the fraud committed in the name of public interest. And 'the moral ambivalence of the film that somehow leaves unsatisfied. From a kinematic point of view Guru is the quintessence of Mani Ratnam. Each frame is gorgeous, with the complicity of the wonders of photography Rajiv Menon.
The combination of AR Rahman and Gulzar create magic with the melody. Abhishek puts body and soul into a dream role, even if it sometimes seems that the character required of him too, especially in the climax. Aishwarya Rai is unable to grow with his role. The first time is intensely dramatic. The second dwells and is repetitive. But Guru is an important film because it deals with a new argument, and raises an important question on the aggressive Indian industrial apparatus.
Strong point: the characters, photography, screenplay, interpretations, ecceccecc. Ratnam is like us in love with his character, and forgive a little 'too much. In addition, the mention of Gandhi in the end you had to avoid. But the merits of the film are so many and such as cloud judgment and lead to forgiving the weaknesses.