Lekin...

Gulzar's 'Lekin...' is a spellbinding experience. He is already very well-known as one of the finest storytellers in the history of Indian cinema and 'Lekin...' is no exception. The movie is like a great book that once you start reading, you can't put it down because it has such a hold on you that you want to reach the end. Gulzar also left some parts of the story open to interpretation. The whole reincarnation element was suggestive and while the film revolves around supernatural elements, the director does not reject science or spirituality but instead he explores possibilities. His attention to detail is impressive.

While the story is gripping, Gulzar makes fine use of the cinematography that gives the setting a life of its own like it did to the desert and the 'mahal' (palace). Hridaynath Mangeshkar's baffling music is an integral part of the movie without which 'Lekin..' would be lacking. Lata Mangeshkar's haunting voice and Gulzar's magical lyrics and Asha Bhosle's vivacious voice in the mujra number are among the highlights of the song. In addition, the background score is simply fabulous.

Vinod Khanna is brilliantly cast as the good hearted Sameer who is 'enchanted' by a mysterious 'gypsy'. Amjad Khan is first rate as the best friend. Beena Banerjee provides good support. Hema Malini has graceful presence. I used to think of Dimple Kapadia as a below average to average at best actress but after seeing 'Rudaali', 'Krantiveer' and a few other films I now respect her as actress. I am so glad Gulzar cast her in the lead because she really captivates the viewer with her haunting performance.

'Lekin...' is pretty much like an enigmatic poem. Like Sameer, the audience is also left wondering and trying to figure out the truth of Reva's existence and is affected and heartbroken by her tragedy and Sameer's search for answers. By the end, one experiences the same feeling like after having read a fabulous book.

In Lekin, Sameer, a museum curator working for the government, is sent to Rajasthan to evaluate artifacts in an ancient mansion which ages ago belonged to Raja Param Singh and is now government property. His arrival in the region is marked by an eerie encounter with Rewa, a beautiful woman who he gradually realises is actually a ghost. Sameer is fascinated by her sporadic apparitions and is greatly absorbed by this phenomenon. When their encounters grow, and their interactions deepen, she presents him with a live flashback which reenacts the mansion's history, which includes her tragic story of captivity in the hands of the ruthless king. Sameer is quick to understand that Rewa is stranded between worlds and needs to complete her journey across the desert to find liberation. He becomes determined to help her through this journey and liberate her.

Lekin is a work of transcendent art. One can hardly ever expect less than pure artistry from Gulzar, and this film, like most of his previous ventures, is poetic, poignant, profound, and deeply affecting. The film is beautifully photographed, with extraordinary setting, costume design, background score and overall high production values masterfully used to depict its magical realism. Written with fantastic creativity and directed with fervour by Gulzar, Lekin is an experimental piece, which wavers between supernatural suspense, platonic romance, thrilling adventure, or even coming of age drama. And it threads between all those genres by embracing its rich folkloristic fantasy. The use of symbolism enhances the narrative, the way the ghostly apparitions and past imagery are presented is most enchanting, while the story in flashbacks really tugs at the heartstrings.

The film's use of magical realism is a very rare occasion in Hindi cinema. Particularly interesting is its approach to supernatural phenomena, which are seen through an intellectual lens. The film is not simply a fantasy, it's a riveting mystery which poses questions without fully knowing the answers to them. Sameer himself is presented as a rationalist; a worldly man who doesn't believe in superstitions, cameos, let alone ghosts, but this incident throws him off balance and makes him question the very core of his convictions. Still, he goes to consult not some conning psychic but a professor of parapsychology. Above all, he is totally intrigued by this woman and aims to understand her motives. I believe the character of Sameer reflects in a way Gulzar, also the film's writer, who was perhaps as curious about the subject as Sameer appears to be.

In this sense, Lekin is an exploratory film as much as it is a delightful mystery romance. Despite its undeniable beauty, some viewers might find the film even a little disturbing both because of the analytical handling but also the harrowing story in the flashbacks. Since science can explain much of what is often rendered occult, thinking viewers observing Sameer's interactions with the ghost, are likely to feel there's some problem with him just like his friends in the film do, and that it is his sub-conscious that fills his sense of reality. You really feel for him and wish for his return into his own previous self. Lekin after all works more than anything as a great mystery offering rich cultural insight of the feudalistic system in India and the destructive nature of class hierarchy. As a character, Rewa, the unblinking ghost, is a sight to behold, and she is heart-touching just as she is enigmatic.

The acting is roundly excellent. Vinod Khanna is on top of his game, giving a wonderfully compassionate performance which isn't easy to etch out. Amjad Khan and Beena Banerjee are wonderful as his worried friends. A graceful Hema Malini gives a knock-out dance number and a nice conclusion in the last scene. Needless to say, it is Dimple Kapadia who gives the film its dramatic poignancy and ethereal tone in what emerges as a fascinating portrait of expectancy. Her presence alone conveys such a powerful sense of otherworldliness, but then those expressive eyes - they are haunting, and through that eager glimmer of melancholy they register such yearning and longing. That this film achieves its desired aura of magical mystery is mostly to her credit. Even in the musical numbers, there's incredible ardor in her convictions. She is unforgettable.

Hridaynath Mangeshkar's music gives life to the film, through its extraordinary melodies, brilliant lyrics and phenomenal visualisation on screen. The phenomenal musical numbers are topped by Lata Mangeshkar's otherworldly rendition of "Yaara Silli Silli", a piece of unmatched melodic, lyrical and instrumental harmony and, how not, one of the greatest vocal performances one can imagine. Indeed, without taking anything away from Gulzar's script, the acting, and the overall brilliance of Lekin, it is Lata Mangeshkar who is its ultimate winner. Lekin is one of the prime artistic achievements of her illustrious career, as far-reaching as it may sound considering she was the voice of a nation, whose lasting impact on Indian culture and the overall Indian experience remains unparalleled, and that she also happens to be one of the most prolific recording artists in history.

A few words then about Mangeshkar, who had decided to produce the film in order to have an opportunity to sing what her heart longed for. It's hardly surprising that the outcome is so good, as one can never expect less than sheer perfection from a paragon whose divine voice is a force of nature and one of the great wonders in the history of music. It is thus so fitting if not instantly obvious that she, a supernatural being in her life, is the one responsible for this supernatural film. Likewise, while she is no longer with us, her music lives on forever, making her immortal just like the film's premise suggests; her eternal presence in the hearts of millions totally matches the eternal essence that 'Lekin' encapsulates. The film is one gem of a movie, it is among the best works of Gulzar and Kapadia's careers, and today, more than ever, a tribute to Mangeshkar's enduring legacy.

I was completely mesmerized by Lekin and especially by the castle and Dimple's haunting character who took over the screen whenever she materialized. It brought back memories of Ugetsu, one of my favorite Japanese films. The photography, the music, story, acting was all top notch and I am definitely going to have to see what else Gulzar did. The desert, itself, was as much a character as any of the actors.

I would have given Lekin a 10 but, since I do not know Hindi, I have to rely on subtitles and, periodically, the subtitles were a little hard to follow unless you are a speed reader. Also, my biggest gripe with a lot of great Hindi films is that they do not include the subtitles to the songs which was the case on my DVD. I was unable to see for myself why Gulzar won two awards for best lyrics that year. It was also frustrating because, when Dimple's character sang, I am almost certain that knowing the lyrics would have only added to the enjoyment of the film. I still gave Lekin a 9 but if anyone can tell me where I can easily find the lyrics, I would be very grateful.

Greatly enjoyed the development of the story line, the music and, not least, the acting. Lekin is very good work by done by experienced professionals. Dimple K. completely inhabited the character of Reva, while Vinod Khanna created an image of benevolent intelligence. The use of the first-class rail compartment, a most impressive Rajput

Palace and the stark sandy desert provided an appropriate background, supporting the story without overwhelming the mystery. The music was well integrated with the story line, something of a departure (in my limited experience with Bollywood movies). My wife and I have been baffled trying to identify the instrumental- only musical theme which plays whenever Dimple's character Reva appears.

This is a Hindi language film starring Vinod Khanna and Dimple Kapadia.

Technically you may categorise this as a horror film, and yet there are no scary scenes in the film. The film is definitely haunting, because it'll stay with you forever after you watch it. Brilliant story, direction and performances are the highlights of the film. The lyrics by Gulzar (who was also the director) and singing by Lata Mangeshkar (who was also the producer) won National awards. Vinod Khanna, Dimple Kapadia, Amjad Khan and Hema Malini are excellent in their roles - Vinod Khanna stands out! Set in the deserts of Rajasthan, Gulzar is at his best with his directorial skill - the story keeps moving while seeming slow, and doesn't feel boring at the least - instead keeps you intrigued until the end.

The film is about a government officer who has come to evaluate a palace in ruins. Strangely he able to connect and communicate with a spirit that is unknowingly stuck in time. How he goes about redeeming her and the challenges faced form the crux of the him. The questions and contradictions throughout including the end of the film justify the title.

A must-watch!