Laaga Chunari Mein Daag
Full disclosure: I looked Laaga Chunari Mein Daag for two reasons: the whole cast full of people I loved / fun, and I did not even really Hema Malini dance in it! And-specific romantic link between Rani Mukherjee and Abhishek Bachchan, my favorite jodi ever.
While the characterizations do not meet all the potential of these actors, the overall film is relatively enjoyable use of his star talent. The two weak points for signs of the child-like younger siblings, Shubhavari (Konkona Sen Sharma), the wild fluctuations in the persona is not really related because of their age and education and whose work seems far too mature for her, and Vivaan (Kunal Kapoor), a narcissist to anyone who should pay particular attention. As for Abhishek and Rani together again ... despite loving them together in each iteration I've seen, I can not put my finger on what it is about them that works so well for me. It's not that they are always lively and clever (Bunty aur Babli), complex (Kabhi Alvida Na Kehna), or intense (Yuva) *, they have done so many unhappy couples so happy, they are not perfect or even particularly pleasant physical game, they do not dance particularly well together. But they always tempt me. Always. So while they LCMD used in only a small dose, with basically an extended cameo by Abhishek, it is well done and satisfying, and I'm so glad to see them as always.
I was originally going to say that it seems unfair to give a movie subtitle appositional journey of a woman but then handle one of the components of this trip with only an extended cameo, especially one that seems important for the woman itself, but then I realized that de-emphasize her romantic life to free resources to tell other parts of her story, and Helen above, is not it great to have a mainstream Bollywood film that does not focus on a romantic story to see, despite having young and beautiful actors? Everything Rohan love Vaibhavari offers, with one notable exception I'll get to in just a second, is also extended many times by her family, especially her sister, who acts as a best friend addition.
What is beautiful, so amazing, no question is what marriage entails Rohan about not-so-secret life as Vaibhavari's high prices escort Natasha. Presumably the presence of Rohan eliminates the financial necessity of which Natasha jumped, but Rohan only expresses hope for a permanent part of her life, and she accepts him as he is not needed. It amazes me that there is no sense of Rohan savings Vaihbhavari somehow: she has earned her own money, her family is back on the foot (thanks entirely to her) and she does not even seem to be the stereotypical "cold and death within "given to the pop culture sex workers.
I will not pretend that Vaibhavari is happy with her life or that they do not require acceptance by the people she loves, but she takes great joy in the happiness of others and in her own success, in particular showing her # @ & $ * ! father (Anupam Kher) that they succeeded in all positions he is convinced that only sons could perform (different versions of protecting and providing for the family) (and that he himself failed to do). (Of course, because we all know where Y chromosomes come from, we know that the family is the only daughter-in-situation Nahiiiiiin! Well-being due to him, but never mind.)
It seems to me that most clearly expresses sorrow Vaibhavari comes from her mother (Jaya Bachchan) 's hypocrisy, depending on Natasha's hard-earned money but also not willing to take her in the family. Vaibhavari do not Rohan (not Natasha), but she loves him and wants him. It is so refreshing! His comfort with her whole self means they have a new opportunity in a more conventional life, but also recognizes who she is and who she was. After all, would Rohan never met her as she had not been for Natasha, and he even says how much he Vaibhavari respects for running into Natasha when she had to and he is in love with her, without knowing why she was Natasha or even that a Vaibhavari earlier part of her, so it's not like he abandon her sacrifice. ** Natasha is responsible for any happy ending in this movie: the family secure finances, improve their home, their success in a lawsuit, the (admittedly very superficial) defeat the villains, the father recovered Shubhavari health and education (and thus work and fiance she met on the road).
That said, and I know that much, I'm not pretending this is a perfect movie. About halfway, I realized that as I was swamped with wtfs his track. But at least for me, the list of positives is as important as the list of negatives. For every crazy aspect of this film, it does something good ... beautiful, smart, interesting.
Let's start with the most distressing problem.
In this fantasy world of gently glowing, silky folk Banares and Mumbai, it is apparently a breeze to a high-price call girl who works without top pimp and is never raped or beaten or forced into substance abuse and dependence will be. It is the most ridiculous display of prostitution I have ever seen, until the total lack of even a hint of sex after she is pro. On the other hand, I think I really only two characters criticism Natasha's work (her mother and creepy cousin, who would creep over her no matter what she has done) was noted. For a movie about a prostitute, there is very little moral outrage, and Natasha she seems as much a part of the fabric, economy and society of the city as her sister advertiser. As far as I could see, there is no condemnation of Vaibhavari (or anyone else for that matter) to have sex before marriage, the problems seems to have the money, but because the two cases are directly linked, it is difficult to say the difference. Think about that: a young woman from a good family holiest city of India has sex without being married ... and nobody seems to mind. Wow.
The title song and trounce the concept that by choosing (and we could have some interesting discussions about the choice and free will in this film) to exchange sex for the occasion (not primarily a direct exchange for money, interesting) , Vaibhavari permanently polluted and reduced-colored. Fortunately, the film is not really act that way outside of these specific texts. And is not it interesting how so many images of water and dust, as if cleansing and purifying and restoring constant expectations? Her mother sews nonstop, obsessive, and two sisters to take solace ghats. In the transformation of Vaibhavari to Natasha, water is also important, almost as if the washing way the former and "good" to reflect the new and "colored."
Perhaps the water is her mind, something difficult to tame, something that contains both good and bad and just keeps moving.
Kunal Kapoor's character is very unattractive, especially when we first meet him and Shubhavari. He is rude, selfish, and rude. Kunal Kapoor is dreeeeamy.
The sisters, this "modern Indian women" (and how much did that slide show of "candids" of Konkona you want to puke?) His apparently only attractive to men when they are high in Europe. Both sisters get their love (one of the on-cute and get-to-know-you, the other the last trip of flirting in luuuuurve) in western locations. I have no idea what to make of that, but it sticks in my Craw. But these sisters also navigate the modern world, work the pragmatic problems and finding success without tearing someone else down or even rivalry with his brother or that annoying "girls can not stand each other's successes to get mean and cruel" routine ( to be honest I feel that I frequently see faaaaar in the U.S. television than I in Indian films). Other "modern Indian women," the nurses talking about how hot Hrithik Roshan is flying and airplanes, which Vivaan is shocked to discover that is eye-roll-y, but in any case the film is clearly an indication that it's great something that women approaching sex drives and fly airplanes.
Look. Maybe I'm just as biased because of the people in this film, or by its remarkable non-judgmental attitude, but a film that heroine is played by my favorite actor, her new life comes under the protective eye of her favorite movie star meets me in a simple, personal, trivial level.
It is dreamy, escapist and set in a magical la-la-land and full of improbable beauty. It tries to do something a little different and while in progress is a hopeful, beautiful statement that less-than-ideal situations and decisions are not forever and that there are some people who will love you for who you really are. Is not that nice?
* And no, I have not seen Bas Itna Sa Khwaab Hai-do you have?
** My friend Ellie and I want to talk about "sacrifice porn" aspect of some Bollywood dramas.
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