Feb 27, 2016 11:01 PM
2052 Views
Screenplay is so confusing that they don't know the difference of sympathy and love, looking at torn shoe of a boy by a young girl could be sympathetic not romantic.
With a compelling camera-work(Anay Goswami) and poetic musical scores(Amit Trivedi) that provides awe-inspiring vignettes, Kapoor tries to emulate a complex plot but the inconsistencies are glaring for its snail pace.No doubt, he has envisioned a historical masterpiece and mounts it lavishly in a contemporary milieu and deserves all credit for shaping this ambitious project.The first half of the film is engaging, it draws us into the characters soaked with sorrow and anguish.Its only the second hour that disappoints where the film derails off the track and digresses into unintentional moodiness.Kapoor's screenplay takes too long to establish the central conflict, and the romantic chemistry between Noor and Firdaus keeps losing the fizz with every passing minute.
Yet for most of the parts, it keeps us invested mostly because of the strong performances from the central cast.Tabu, delivering a master stroke portraying the multi-layered Begum, Aditya articulating Noor's vulnerability and passion with spunk and Katrina imbuing the impenetrable Firdaus with grace.Rahul Bhat impresses as the hard- nosed fiancée, Lara Dutta is cut-short and Aditi Rao Hydari who portrays the younger version of Begum exudes immense charm, and depicts the hollowness of life after being wronged in love.
Abhishek Kapoor casts Tabu as Firdaus' mother, Begum Hazrat(Miss Havisham) and despite being burdened with a role where she hardly gets scenes to shine, she's a treat to watch. Her Urdu diction is impeccable and there's a striking resemblance to her portrayal of Ghazala from Haider. She rightfully gets top billing in the opening credits as well.
If there's one thing Abhishek Kapoor did right, it was to make Kashmir the setting of this movie. The place is majestic, as evidenced by the beautiful shots cinematographer Anay Goswami has captured.
Amit Trivedi's music stands out once again, like it always has, in a movie that doesn't deserve it. Pashmina is a gorgeously mounted song, setting the tone for the rest of the movie, only to amount to nothing.
A lot was expected from Abhishek Kapoor after his refreshing Rock On! and the fact that he made Chetan Bhagat's worst novel into a passably good film in Kai Po Che, but here he definitely falls short of the mark.
Fitoor is a pointless adaptation, and a disjointed film. Not only does it add nothing to the original source material, but it can't even manage to do justice to Dickens' vision.
