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.
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**
