Randeep Hooda, a wonderful actor who has been floundering for some time now trying to make a niche for himself has found his cut with this role. She even sings a lullaby with not a note lost. Softly nudging the story along is AR Rahman with his soulful numbers never ever appearing out of place and taking care never to intrude into the narrative and when it does with Pataka Guddi, Alia simply traces out the music with her fingers in the air.
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Talking too much particulars and specifics of the movie will actually destroy the experience of watching it and the hard work put in creating the various moments an accumulation of which actually completes the experience, will be lost. Brilliantly interweaving personal stories within the main matrix of a kidnapping used as a tool to lay out the emotional wares, Imtiaz is simply outstanding out doing himself in the process and marching into uncharted territory without sacrificing the entertainment index. The experience mirrors in the male lead Randeep's evolution in the journey.
Till the road journey scratches her surface provoking her to abandon efforts to get back to her cozy life and instead tease out the wound which appeared to have healed externally but is hurting deep within. The girl is from a wealthy and powerful family and appears gung-ho about life. If you do not allow yourself to be sucked into their lives you may find the plot-line dreary because you cannot connect with the alternating misery and happiness of the main leads. Being on the run is not used as an excuse to showcase scenery but knowingly used as a tool to allow the individuals who are hurting from deep within to unravel themselves. The protagonist Alia lands up, in a sequence of events, on a road journey with her apparently malicious perpetrator. It is the ability to see beauty as much in a whole row of dilapidated trucks lost in time as in a snow laden country racing by, or taking the road less traveled alongside a river with virgin gurgling waters. It is about loving your country well enough to make it appear more alluring than a dozen other over rated countries. I bit my lips praying that the wonderful songs by ARR were not tucked into the screenplay to pop up jarringly to justify themselves. The opening kidnapping scene takes you back to Roja, when another master Mani had led you to the hills and captured them with the camera caressing nature careful not to pollute it with attention too much. Just microscopically short of being a marvelous and a great movie. Having been drunk on the heavenly music of the movie by Maestro A R Rahman and after practically selling Pataka Guddi to everyone who wanted to hear, the wait for the movie was finally worth it. He evoked a classy sense of humor in Love Aaj Kal and then I watched with disconcert not sure if I had liked RockStar. The surprises at every corner of the road traveled by Shahid and Kareena were absolute delights. I almost stood up when I first saw Jab We Met. Dating back to an interaction two decades back. It is in this captivity that she, for the first time, feels free.I have a soft corner for Imtiaz Ali.
Gradually, a strange bond begins to develop between the victim and the oppressor. As the days pass by, the scenery changes, the girl feels that she has changed as well. But for the leader of this group sending her back is not an option. The gang is in a panic the girl is a big industrialist's daughter, his links in the corridors of power make ransom out of the question. Suddenly, her life is swung away from the brocade and jewelry of marriage to the harsh brutality of abduction.
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Vikram NayakĪ city girl - young, full of life - is on the highway at night with her fiancé. It is in this captivity that she, for the first time, feels free.
A city girl - young, full of life - is on the highway at night with her fiancé.
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