Search:



The Web

Rediff








Home > Movies > Reviews


Counterview: Parineeta, just a music video

Sumit Bhattacharya | June 10, 2005 18:31 IST

A still from ParineetaFirst, the baggage. The only Sarat Chandra Chatterjee works I have read are Ramer Sumoti -- about how a boy who is a complete nuisance becomes responsible, a story my mother insisted I read -- and Mahesh, about a farmer and his cow, which I read on my own in class III and cried buckets over.

 

What struck me was the starkness of the stories, the simplicity of it all -- something that debutant director Pradeep Sarkar's 'adaptation' of Parineeta steamrolls with its shafts of light and a Kolkata permanently bathed in a Ray Ban afterglow.

 

I guess a period film is Bollywood's way of justifying the opulence and the melodrama that are to it what water is to fish.

 

So, as Amitabh Bachchan's baritone booms about Calcutta -- as it was called then -- of the late 1960s, you catch your first and last glimpse of the city. You are suddenly transported to a very un-Bengali shaadi sangeet, arguably the most irritating song you will hear in a while.

 

Special: Showcasing Parineeta

 

More on rediff.com!


Indian Idols reunite!

Special: India's Best Films

Ram Gopal Varma's 10 Best Films


And you realise this is just a masala film, despite the attempts at Satyajit Ray's Charulata-esque woman on the swing shots and Tagore's song Fule Fule Dhole Dhole rearranged to saccharine sweetness.

 

Shekhar (Saif) is getting married to a rich businessman's daughter Gayatri Tantia (Dia Mirza). But his heart is away, with Lolita (Vidya Balan) -- his neighbour and childhood love.

 

The rest of the movie is a flashback music video about Shekhar and Lolita's unspoken love and his father (Bengali actor Sabyasachi Chakraborty) Navin Rai's greed, which tears the lovers apart.

 

Navin wants Lolita's uncle Gurucharan's mansion. Gurucharan, whose fortunes are on the downturn, has mortgaged the house to Navin. The mortgage is eventually paid by Lolita's neighbour's brother Girish (Sanjay Dutt), who has fallen for Lolita.

 

Plotted misunderstandings follow and Shekhar, convinced Lolita has sold herself to Girish, agrees to marry his father's business partner's daughter. There is a climax that is even more exaggerated and loud than the movie overall -- quite an achievement.

 

A still from ParineetaThere is careful detailing -- windowpanes that remind you of old bonedi (traditionally rich) Calcutta mansions -- but it is all to make every frame too picturesque. Saif Ali Khan sports a guitar model that was not invented in the period the film is set it. Everybody wears designer clothes. Every shot is eye candy. Hallways are lit with candles even though there is electricity. The grand piano props up the mortal remains of grandeur as windswept curtains try to coax unrest.

 

Everybody suitably overacts. Vidya Balan coos, Raima Sen (who plays Koel, Lolita's sister) plays the precocious saheli and Sanjay Dutt shows us what Munnabhai would do in designer punjabis (that's Bong for kurta).

 

But despite the songs, the Austin cars and the Rekha nightclub cameo, you do not get a sense of the place. The only times I felt a pang of nostalgia for a city I yearn to go back to was when the dhakis played to a dhunuchi-dancing Sanjay Dutt and when the Siliguri-Darjeeling toy train meandered up hills that were my doors of perception.

 

Nor do you feel for the characters. Only Sabyasachi -- a fine actor in his own right -- Saif, and some Bengali actors, who put in nice cameos, impress. The cool dude from Dil Chahta Hai is convincing as the quintessential Sarat Chandra man -- weak (remember a man who drunk himself to death for a girl?). 

 

The music, which is the film's crutch, is catchy. But there is no sound of LP scratches, something that could have evoked an era gone by much more than Yanni-esque piano trills. I felt there were too many songs.

 

All great art hides technique. Be it a Charlie Parker solo or a Picasso painting. It does something to you, changes you from within, somehow. Parineeta leaves you cold and only appreciative of the forced beauty and technique. There are fleeting moments -- like when Shekhar comes home from office to order his servant to take his coat, a mirror image of his Merchant of Venice father, symbolising he has killed his artist self -- but otherwise there is no epiphany. No take-home.

 

Parineeta is just a well-made music video. It might become a very big hit -- I have seldom seen so many people on a first day first show -- but it fails to be real, to move, to touch.



Want to see this movie? Check out Rediff Movie Tickets!

Share your comments


 What do you think about the story?




Read what others have to say:


Number of User Comments: 43




Sub: absolutely true

what a melodramatic, stupid film! The climax is one of the WORST scenes in a recent Hindi movie, and that\'s saying something. Although Sanjay and ...


Posted by priti





Sub: A beautiful movie

Hi I watched the movie after a long time, after almost deciding it was ok not to watch it. I dont care about whether the ...


Posted by M





Sub: My two cents

Problem is that Sumit Bhattacharya is a bengali(please correct me if I am wrong), and being a bengali myself I know that we are pretentious ...


Posted by Bonnie





Sub: Vidya Balan is adorable

Vidya Balan took me by surprise. She's such a beauty and also acts. I read the reviews just for it's sake to make the writer ...


Posted by Rajeev





Sub: Gone NUTS???

I think Sumit Bhattacharya has lost his marbles, lol. For him to say Vidya Balan does not how to act, and just coos? is way ...


Posted by Suman




Disclaimer




Article Tools
Email this article
Top emailed links
Print this article
Write us a letter
Discuss this article









Click here for More Reviews





Copyright © 2005 rediff.com India Limited. All Rights Reserved.