SAAWARIYA: Ignored, yet Adored!!!!. Review on Saawariya

There are a very few sensitive women who are also, sensible. Yet, those rarely wonderful women make ambiguous decisions in their love life. In fact, they mostly have two love lives. One, which they consummate and live with; and the other, which they adore, yet foolishly ignore! This ignored, yet adored beloved of a sensitive and sensible woman is …. Saawariya.

In an ethereal world, where there never existed bright sunlight and pure Love, walks in a young man with a divine charm and a heart full of love. With his effervescent charm, he spreads happiness all over; but preserves his heart for a mysterious angel; until one night, he loses it to the beautiful damsel standing on the bridge. He is so much consumed in love with her that he decides to do anything for her happiness. But on the contrary, the lady is in love with someone else, for whom she has been waiting. And so, he ends up being her Protector(protects her from the evil eyes of the bad), her Friend(sharing her pain and anguish) and her God(she prays to him to help her unite with her lover).

The story of Saawariya is about the conflict between Dreams and Destiny; the conflict between Reality and Divinity; the conflict between Temptation and Self-Dignity. Also, it emphasizes the contrast in society: when the whole city of prostitutes yearns for love(because they are not loved by anyone), the Prince of Love gives his heart to a woman, who already has the love of another person. In any society, the Rich remain Rich and the Poor remain Poor.

As a film, Saawariya is intensely passionate in poetry and obsessively brilliant in technique. And the man who put everything together in perfect balance is Sanjay Leela Bhansali. He dreams it, believes it and executes it with applaud-able conviction. The most note-worthy aspect of his direction is the treatment he bestows on the story. It is a complex explanation of a simple story and a complex story of a simple theme. And Bhansali carries it with sincerity all through-out. His fine rapport with art-director Omung Kumar and cinematographer Ravi K Chandran shines radiantly on the big-screen. Bhansali’s heart, mind and soul smoothly ooze out of Monty Sharma’s mellifluous compositions.

Ranbir Kapoor is perfectly cast as the Prince of Love. He is cute, lovable and charming. Sonam Kapoor is adorable enough for the character she plays. Rani Mukherjee is at her usual best and Salman creeps in for some star-value. Other actors are adequate.

If there is any glitch in the otherwise perfect film, it is Prakash Kapadia’s script. Not much is wrong as long as the main leads are considered. But he stumbles into the mistake he has done for Devdas for Rani’s and Salman’s characterisations. He has given irrelevant dialogues to Rani’s character and unappealing ones to Salman and consequently both characters seemed unimportant.

This film can be appreciated only by people who can understand the fact that sensible women are sometimes insensible and that there are men who can whole-heartedly acknowledge them. So I am not sure if I can really recommend this film to everyone.