LOOTERA - MOVIE REVIEW

There are some movies which simply delight you. Lootera is one such movie. Set in the early 1950's, against the backdrop of the Bengal countryside and alongside the snowy peaks of Dalhousie, Lootera probably has the most structured and layered romantic angle that develops, blossoms and as it has to end somewhere, dies its natural death. 

The movie is meticulously detailed, beautifully presented, narrated almost as if its watching motion paintings on celluloid and boasts of career defining performances from the lead pair. 

Set in the 1950s, a con-man Varun visits the house of a Zamindar in Manickpur, Bengal to steal an ancient idol from the temple that was the ancestral property of the Zamindar. While carrying out his operation, he loses his heart to the Zamindar’s daughter Pakhi.  On the day of their engagement, Varun along with his ransom runs away. 

Years later, fate brings them face to face in the most dramatic situation.

Bubbling with the aftermath of being cheated in love, how does Pakhi react to Varun? 

What follows is an overwhelming story of passion, tender moments of love, care, joy, sorrow and most importantly, sacrifice!

There are scenes which establish the sensibilities of a movie, carry the story forward and leave a desired impact. Seldom do you see a scene incorporating all these 3 elements. 

And this is where Lootera scores heavily. Such is the impact that you fall in love with the silence, the unspoken words, the grandeur with which the erstwhile Zamindars lived and most importantly, with the magic that Vikramaditya Motwane is able to create within his frame with the variance in the moods of his characters.

Based on the short story "The Last Leaf" by O. Henry, Lootera creates myriad shades of human emotions and basks in the glory of it's simplicity.

You might feel that there is more focus on developing and evolving the character sketch of Sonakshi as it is visually more apparent, but make no mistake, Ranveer excels in showcasing the changes in his character with such ease that it is almost unbelieveable. 

It is the performances by the cast that make the film even more engaging and delivers moments to keep you in awe of the genius of Motwane. 

There is a clear evidence about the amount of planning that has gone into portraying situations on screen. The scenes on screen are a proof of the above statement. Those moments of stolen glances, immediate attraction, awkward silences, whispered dialogues, regret and pain are depicted and narrated with such style and artistic sensibility that even Mr. Sanjay Leela Bhansali (whom Vikramaditya assisted for a good number of years) would want to feel proud about the fact that the standards he had set have been raised further

The cinematography (Mahendra shetty) is among the best that i have seen in Bollywood movies. 

The editor has aptly supported the efforts of the cinematographer by placing and editing the frames to such detail that no where do you feel that the essence of the scene is done away with in order to make that scene look more beautiful. 

The dialogues are thoughtful. The silence that follows the dialogue is even more thoughtful. 

The Background score plays a very major part in setting up the mood for the events in the movie and it has been done so well that it is able to produce the desired emotion when the scenes play on screen. 

Musical score by Amit Trivedi is outstanding. More more details on the Music of LOOTERA- http://arpitpokharna.blogspot.in/2013/06/lootera-music-review.html

The screenplay unwinds like a poem. The scenes make rhythmic sense. There are logical elements that are skillfully depicted to establish the location and the era.

Sonakshi Sinha is a revelation of sorts. Her character Paakhi probably had more shades and layers than all the other characters she has already played on the screen so far. And she delivers her finest performance. Good to see such a refreshing change.

Ranveer Singh has already proven himself but this movie was his real test and trust me, he deserves every applause. He is able to convey so much despite restraining himself from going overboard. His outburst in the 2nd half and the way he carries forward the rest of the film is commendable. 

The supporting cast has done a tremendous job (Vikrant Massay and Divya Dutta in particular). 

Take a bow Vikramaditya Motwane! If Udaan was radical and contemporary cinema at its very best, Lootera is art  at its peak, the similarity being the focus of the characters internal conflicts in both the movies. 

There is a sense of calmness about the way the director carries the movie forward. The dramatic highs come up only when required and for most of the time the movie is boiling with moments of sheer simplicity. The shots are taken brilliantly.  

Not even a single element feels out of place. The 1st half is bright and captivating. The 2nd half is tragic and pain inducing and boasts of heart wrenching moments. You would be left with images about the final moments of the film as you leave the theatre. The director takes his time to showcase his art and it is worth it.

Lootera is probably the film every director would want to direct. It is a director's delight.

But you might not find Lootera shattering records at the box office. It is not everyone's cup of tea to accept such films. The languid pace of the film was a problem for the audience at the theater where i watched this film. Those beautiful silences were often interrupted by giggles from the crowd.

There is no wonder about the fact that Lootera is finding audiences in very niche sectors only, which is a pity. For we ridicule our film industry for not producing sensible cinema but when they do, there are no takers for it.

Biryaani takes time to cook properly. Cooked on a low flame so that all the spices lend their taste to the rice. The high flame might just destroy the taste. 

Lootera works on the same lines. If you are willing to give it your time, trust me, you would be left enthralled and amazed by the end of the movie. 

LOOTERA is 135 minutes of pure cinematic genius. 

 **4.5 STARS**