Swaha is a two and a half hour film ulcer that is by 50% could easily have cut back - and it would still be too long. The sold as a horror movie concoction is so amateurish told and staged that you look at every minute fremdschämt for everyone who was involved here, except perhaps the composer. And who has the best songs probably also stolen. A by-and-by-flop so that, almost is good by his sincerity, he puts on the day even in its most stupid scenes to Trash fun.
Take about the actors, which usually tell the silliest texts with a stiff look and deadly serious mine. Some are indescribably bad, others are just boring. And the best part: The comedy sidekicks, ie those that should be funny actually, there are no second. A cast of the shallows of Bollywood, which is symptomatic that the female lead originate as well as all dancers from Ukraine and Russia. The actresses do you get cheap and they are ready yet to more than most Indian.
Since talent in selecting only secondarily, acting almost all movies, and fishing in the Russian and Eastern European casting pool, something cheap. And here that is definitely so, even when Svetlana's body model provides at least for a few distractions from Trott. Newcomer Rikkee, with tattoo and cool look, is meanwhile keeping them happy, what he obviously finds it difficult, given the lack of charisma but the women. But he finds himself here in good because not talented free society.
Director and screenwriter Manoj Sharma works with Incline camera, with loud sound effects, with even louder music, with slow and fast motion. All this makes Swaha plump and striking, but never exciting. Some individual scenes are just embarrassing or silly hilarious. Already at the beginning of the alleged narrator cheerful earnestness that Christians would believe that Jesus created the earth. Later an absolutely listless Veräppelung of follows Subhash Ghai . A dark priest may alternately grunting and charging. And then followed by the actual horror moments, a silly than the other.
In one of those backed by loud music shock scenes Ally discovers that the red curtains are blue in the mirror! She tears horrified eyes and yelling. Imagine their horror before! Blue! "I can see blue curtains!" Because such inane scenes can be at "Swaha" quite have his fun. But you need to strong nerves, no, not because it would be exciting, but because the trash is close to the limit of endurance and simply do not want to end.
If you're not busy laughing at the movie, you can still devote the social subtext. Thus, the film was allegedly funded by Christian groups to make Hinduism bad and expel the superstition out of the country. Even if this conspiracy theory to be true, so you still has its work cut to imagine that even one person could be dissuaded from his faith because of this film. If anything, heals Swaha the faith, every movie is worth to be watched. Except for the decent songs in this bullshit namely nothing of value.
Silsiilay is a film that uses a known frame and already used in film the story of three couples at a critical time in their lives. Or rather three women in a love triangle. To start and to evacuate a subject that is of no interest, a word about SRK whose figure occupies a good part of the DVD cover. SRK is the narrator and only that. The first thing that comes to mind in the LED on the screen is that it has been hired to mount the level of the poster.
Besides the prégénérique leaves no doubt. A beautiful sign says it all: Thanks to SRK that is always available. Short, we redid the shot Poster Shakti Aich with wholesale and SRK while they are not at all the heroes of the film (especially her, we only see the time of a -excellente- song). It's called commerce. Thus the aforementioned SRK does its job with enthusiasm and professionalism as always but I could not help but pity him a little to have to play the fool at times. Anyway, this is not his most outstanding performance, even if it's always fun to see. It occurs between each story, including with an idea not particularly elegant but original to the intermission.
So three couples. The first, in order of appearance is the one formed by Zia (Bhoomika Chawla) and Neel (Rahul Bose) with Piya (Natassha) in disruptive. Zia and Neel were separated on a whim. He began with Piya but could not break the deep complicity that binds to Zia. The second couple is Anushka (Riya Sen) and Tarun (Jimmy Shergill) with Nikhil (Ashmit Patel) in between. Anushka loves (more or less) Nikhil. He does not like it, or rather he would like to have a good time with it. Tarun's crazy about her.
The third pair is Rehana (Tabu) and Anwar (Kay Kay Menon) and the temptation is Preeti (Celina Jaitley). Anwar married second wife Rehana but regret because he is in love with Preeti. The film is going to tell a critical successively slice of life of these new characters.
The stories, although uneven in my opinion, are all interesting. They are totally independent and we could have done a film with each of them. The problem is that instinctively, one wonders when they will converge. Indeed, it is the rule of the genre: unless you are dealing with a film with sketches claimed (and still, there is often a common thread in the sketches in films), the viewer always seeks the common element and unifying. It is even often the highlight of the film.
The implementation of the last pieces of the puzzle is a time of intellectual and emotional enjoyment, such as in Salaam-e-Ishq or Yuva . But here it seems to be the last concern of Khalid Mohamed. Now is sloppy and we wonder if he spent more than 10 minutes to write this fall. The event has the size and function of an end point: essential but already outside history. Nikhil Advani when the puts on the same level the puzzle appearance and the stories themselves, Khalid Mohamed takes a very different approach. There's no puzzle, no nesting but yarrow, strata.
Unquestionably, what interests him is the three stories in themselves. Looking more closely, we see that tells the same story, albeit from three different angles, but with an identical structure. Basically, the relationship between a woman and a man. These relationships are complicated by a third person (the teacher in both cases, the lovesick in the other). Until then, nothing very original. Where Khalid Mohamed innovative is that it adds a fourth character to the trio. For Bhumilka Chawla is his sister (the too rare Divya Dutta). For Riya is his friend released. And Tabu is the son of her husband, lovesick too and revolted by the conduct of his father.
This fourth character has a key role. We know that pyaar , mohabbat and dosti are the pillars of Bollywood. These elements are part of life, are life and the door itself as one carries death from birth. This fourth character is destiny. It is beyond the control of our characters. It is the messenger of death of a world, one in which the characters lived during the early part of their history.
The Death of the Seventh Seal Bergman, one against which we struggle but as the only hope to back an inevitable deadline. In Silsiilay , fate is embodied in this fourth character, who is out of the love triangle, which has an outside view and figure, somehow the apex of a triangle become pyramid. This capital character for the film will upset the traditional triangle: the Zia sister will give without Zia requested nor even suggest, the destroyer DVD Neel's friend Anushka will open his eyes by pushing in Nikhil's arms, the son-Rehana will show the truth in front of his father's behavior. Without this fourth character, who seems almost incidental at the beginning, the story can not end.
So the question we can legitimately ask is why Khalid Mohamed chose this angle of attack. Its three heroines are beautiful and have no financial worries. What are they seeking? Beyond love, they seek the same thing: the affection and respect. Values not always present in the modern Indian female environment. This research will change. They will lose their illusions and romanticism. And their evolution, once the tearing of this rebirth overcome, will make them stronger and more confident. But in exchange, each one eventually. The subtlety of Khalid Mohamed holds me it seems, the fact that he had the happy ending to reach. He could bring together true lovers.
But chose freedom rather than the Bollywood tradition. In all three cases, it is a break with what one would expect of another director. It puts into practice the motto of the violinist Joseph Joachim "Free but alone." These women are released from their moral and psychological obstacles but at the cost of a form of solitude. The modern Indian woman is born. Where it comes from and whatever their status. To each to see if it is a good or bad thing. As a comedy, Khalid Mohamed paints a rather serious picture of Indian society. We are far from lyricism and shine social issues of Karan Johar. The image processing, sober and distanced, Santosh Sivan (who wrote and directed a few years before Theeviravaathi: The Terrorist already a history of dark and realistic woman) reinforces this atmosphere.
Music is, meanwhile, a good surprise. Well, we're not in songs by Madan Mohan and Sanjeev Kohli in Veer Zaara , which tear tears to each agreement. But, for once, Himesh Reshammiya happens (sometimes) to do anything other than Himesh Reshammiya. Overall the music is melodious and good rhythm to the story. But we still feel that the director has sacrificed the Bollywood musical tradition and that he would be fine.
There is not much to reproach the players. I was amazed by Riya Sen who seemed perfectly into the skin of his character. But the biggest surprise is Bhumika Chawla I've always found a little vase (in Tere Naam example). Here she takes the woman's role both lucid, voluntary resignation and in a big way. As for Tabu, she always much presence and dignity. Jimmy Shrergill usually leaves me a little uncomfortable but here nothing to say. In fact, what is striking in this distribution is consistency and restraint interpretation. No histrionics (except SRK but he, he could make the feet to the wall with the Davy Crockett hat and moonboots, it would be a blessing).
In summary, this film is a good time, certainly less effective than Yuva example (in which the cast is of great power) but with a real sense of research and quality treatment. Those who have not seen Silsiilay can live without, but it seems that this film is an interesting key to add to the outfit needed to open the door of the mentality of modern Indian society.
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