Staying with his stylistic sets, elaborate costumes and highly symbolic representations, Sanjay Leela Bhansali brings to the silver screen, another piece of art.
Saanwariya, to most of the viewers would be an over-the-top, completely senseless love story. But if you are ready to accept exaggerations, illogical twists (come on it’s a love story after all), only then will you be able to appreciate the finer points of the movie; the usage of colour, the style of presentation and the delicate artistry that the director has executed almost flawlessly.
Shot in shades of blue; indigo specifically, the movie seems like a drift over from Picasso’s blue period. But the colour is not just blue, the feel of the story changes the colour; the frames are green on Eid, the hero wears red when he’s in love and the heroine is clad in the black of indecision and unfulfilled love. The effective use of blown out of proportion stereotypes actually gives the movie a theatrical feel. The elegant cinematography does justice to the artistically designed sets. In short, the movie is really really good to look at.
The debutant pair, Ranbir and Sonam Kapoor exceeds expectations. Ranbir is the loveable poster boy, delivering his lines with panache and a contagious elation. Sonam too is a delight to watch and so is her acting. Rani, overflowing with her experience, seems to be falling into the habit of playing the prostitute; but every time she does it better than the last time. Special accolades to Zorya Sehgal, she adds the dash of young acting, and it’d be a crime if I added ‘at this age too’.
Don’t ask why it rains and snows at the same time, or why the whole city looks like a painting, or why sonam falls in love with a man the age of his dad. Just flow with the poetry and you’ll enjoy the movie.
Saanwariya, to most of the viewers would be an over-the-top, completely senseless love story. But if you are ready to accept exaggerations, illogical twists (come on it’s a love story after all), only then will you be able to appreciate the finer points of the movie; the usage of colour, the style of presentation and the delicate artistry that the director has executed almost flawlessly.
Shot in shades of blue; indigo specifically, the movie seems like a drift over from Picasso’s blue period. But the colour is not just blue, the feel of the story changes the colour; the frames are green on Eid, the hero wears red when he’s in love and the heroine is clad in the black of indecision and unfulfilled love. The effective use of blown out of proportion stereotypes actually gives the movie a theatrical feel. The elegant cinematography does justice to the artistically designed sets. In short, the movie is really really good to look at.
The debutant pair, Ranbir and Sonam Kapoor exceeds expectations. Ranbir is the loveable poster boy, delivering his lines with panache and a contagious elation. Sonam too is a delight to watch and so is her acting. Rani, overflowing with her experience, seems to be falling into the habit of playing the prostitute; but every time she does it better than the last time. Special accolades to Zorya Sehgal, she adds the dash of young acting, and it’d be a crime if I added ‘at this age too’.
Don’t ask why it rains and snows at the same time, or why the whole city looks like a painting, or why sonam falls in love with a man the age of his dad. Just flow with the poetry and you’ll enjoy the movie.
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