Lovely film, but I don't feel like writing about it at length.
In fact, I only have one burning question: Just how did Ayesha Takia sign the maafinama at the end? I didn't see a pen anywhere. (If it comes to that, how did one forlorn piece of paper, said maafinama, survive a night in the desert without moving more than a couple of feet away from where it fell, so that it was easily found the next day?)
2 comments:
Didn't think much of it. It was pleasant enough to watch (except for the painfully prolonged final 20 minutes, which could easily have been finished in 5) and no one does feel-good quite the way Kukunoor does (watching his movies, one never gets the sense that anything seriously bad can happen to anyone), but the scripts of his films are so amateurish and his handling of actors is just embarrassing. Shreya Talpade has somehow managed to give two excellent performances in Kukunoor films - but that's entirely to his own credit, I'm sure.
Have you seen the original Malayalam film btw? I'd like to, because the premise in itself is quite interesting - must have shaped up very well with a better director than NK in charge.
ALso, did you notice the "Thanks to Karan Johar" at the end? Think that was for the use of the Shah Rukh cut-out in the photo shop?
I was actually pleasantly surprised by the film. I thought the crew helped hold the film together remarkably well, especially the sound design and the camerawork. The dialgoues, also, were yards better than, say, in Bollywood Calling.
And you're entirely right about the feel good thing.
I haven't seen the Malayalam film; maybe it will be there in Trivandrum this year. I hope so.
Yes! I noticed the Karan Johar credit! Wonder why Farah Khan wasn't given a credit for the Main Hoon Na poster. Btw, I thought the choice of the poster at that point, when Ayesha's room was being stripped of everything, was a nice piece of irony; I hope it was deliberate.
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