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What the fuss all about
Jul 14, 2005 02:25 PM 1396 Views
(Updated Jul 14, 2005 02:28 PM)





Hello Friends,

The novel penned by the maestro Sharat Chandra Chattopadhyay, is undoubtly a love story of an epoch. But as always seen, when any written material is converted into cinematographic enterprise, the essence is lost in pomp and show employed by mechanics of bollywood.


 Sanjay Dutt as Girish

 Saif Ali Khan as Shekhar

 Vidya Balan as Lolita

 Raima Sen as

And many more

Director: -

 Pradeep Sarkar

Story in nutshell: -

Lolita is an orphan who stays with her uncle, and has a neighbour Shekhar, for whom she’s mother cum wife. She takes money from his ALMIRAH, and when tries to tell him, she’s told ''no need'' (eternal love story would rather say). After Lolita completes her education she joins the firm of Shekhar’s father. And our music lover Shekhar, eventually becomes a music director who can’t compose any song without Lolita (Laila Majnu of modern era). Then suddenly one day Lolita comes to know that Shekhar’s father is planning to usurp her uncle’s ancestral HAVELI and wants to convert it to a hotel, that too all for some sum that her uncle had borrowed from him. Lolita wants to save her uncle’s status and won’t tell anyone in the family (?????why), don’t ask me why. But Girish comes to know about, how and when don’t ask again. That’s all the magic of Mr. Sarkar. He pays the sum and now Shekhar’s father is furious while Lolita is indebted. She’ll do anything for Girish. Shekhar is sent to Darjeeling, and a wall is built between the two HAVELIS.

Meanwhile, Lolita won’t mind enjoying sex with Shekhar, on the night of her friend’s wedding. Another twist, the MAHURAT that day was so auspicious that one will get married just by putting mala in each other’s neck, strange. So without any PUNDIT and MANTRA, they get married (that follows honeymoon scene-censored). She’s married to Shekhar but Girish also loves her, whom she gonna choose is the final question??? Watch (rather read) and find.

What critics say: -

Parineeta, though has, KOLKATA’S tram, the Moulin Rouge, Durga Pooja and it’s traditional Aarty, it looses when a Bengali tries to find out the true, then, CALCUTTA. It has a falsifying horse race from CALCUTTA’S TURF CLUB, and ya phutcha, how can one forget about it. It has KURTAS, DHOTI and designer sarees but lacks true BENGALI spirit. Calcutta of sixties looks very graceful, no doubt, but where is the life in that KOLKATA. Vidhu Vinod Chopra, promoted movie as a love story of the century and a vulnerable classic, but where neither it has a vision nor vast canvass. Rekha, looks disgusting, don’t know why can’t she take back-seat now and act her age. Would have been really nice if director would have taken some extra pains to think like one could have if that person would have belonged to the Calcutta of 1962.

• Devdas v/s Parineeta

Both the movies are based on the novels of Sharat Babu, one was Directed by Sanjay Leela Bhansali while the latter by Pradeep Sarkar. But both failed to present the core, and movies seemed to be dead.

While Sanjay had a vast canvass to portray Devdas with all heavy sets and costumes (30 kilogram LEHNGA of MADHURI) and jewelry (blood oozed out of Paro’s ears as the earrings were too heavy). He’s such a visionary that it took him less than a second to turn a temple to a KOTHA (temple of sex). He made Paro and Chandramukhi to dance, this must have made Sharat Bubu shudder, for a while, and weeping for the atrocities committed by the director to his novel.

This time its not Sanjay but Pradeep, who makes Sharat Babu to cover his face and cry (in his grave) and repent for writing all these books. What harm an amateur can do to such a legendary work is very well seen here.

The wall (indeed a BERLIN WALL), built between the two houses conveyed some meaning at the time of the writer. But here in this movie, the wall is no more than a substance to show off. And what more can be hilarious then our very own Achilles (Saif), uprooting fountain and breaking the wall.

The “big haveli’s” and ARAAM KURSI, are all there, but what one misses there is the BENGALI culture. Some lady critic, filled a column in Times of India praising the movie but I didn’t find anything worth even mentioning. Atleast, Devdas had something to be called a classic but Parineeta is a total failure. Everything looks too feigned and too superficial that CINEMA hall is sure to run empty. Music alone can’t fetch the movie to the epitome of success.

Performances: -


With the BAHANJI (Raincoat’s AISH) looks on her face, she sounds promising. She tried to give life to the character but eventually (I would say) it’s character that gave life to her career. She looks charming but every other actress looks fantastic so where’s the difference?? The difference lies in her capabilities, she acts with a variance. Since everybody is making (rather re-making) old classics, she has a better scope in Tinsel town. If it goes on for a long time then, where will MALLIKA’S and RAVINA’S will go and show their body.


After his divorce with Amrita, his old image has been completely shattered and the new image portrays him as a crooked man, so one don’t find him playing any hard to live the character of Shekhar. He’s a man of least common sense presented in an awful well set environment. He makes you feel sick. He depicts jealousy very well. Don’t know when this CHOTE NAWAB SAHAB will learn to act.


He gives you yet another good performance of his career but since was not given much space seems to shrink towards the climax. He looks amazing in DHOTI & KURTA.


Don’t know what was the need for RAIMA SEN for this petty part. And pairing her with SANJAY, another big disaster any director would have done. Choosing RAIMA for such a role is in itself says that director undermined her talent, and what the hell was in her mind to say ‘yes’, the big banner. Hey…miss don’t forget heroines like MANDAKINI and recent hot treat SHAMITA all started with BIG BANNERS and where they are, is well known to you.


Rekha is another disaster, though she’s a beauty of SIXTIES, but that doesn’t mean that she should forget her age. It’s high time for her to act her age. She’s one of the most beautiful ladies in the TINSEL TOWN, but her beauty has faded now. She looks good in the role of a mother (KOI MIL GAYA), but if she’ll carry on with the roles like this then soon the audience will turn and say BACHKE REHNA RE BABA.

What do I say: -

The music is good, but direction is bad. Movie is a big bore, not because of the story but because of the presentation. I can’t help wondering, what’s wrong with the INDIAN MASS, critics, please watch movie again not for the sake of your husband but as a critic.

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