Mirzya

Rakesh Omprakash Mehra is back with some artistic poetry of love saga from different ages. Definitely this one is full of cinematic excellence frame by frame with stunning visual effects. Debutant Harshvardhan and Saiyami were good in lead pair. Shankar-Ehsaan- Loy's music was mesmerizing.However Daler Mehdi's voice make some irritation in your ears. Mirzya is pure treat for Class audience which contain melody, art, visual enchantment. Arrow clash and chase sequence on Horses were terrific. As Rakesh Omprakash Mehra's film career is full of Sine Curve( consecutive Hit and Flop movies). His debut movie Aks was flop then Rang De Basanti was Hit. After that Delhi 6 was flop on box office then Bhaag Milkha Bhaag was Hit. As trend suggest, Mirzya will surely flop on box office.

Let me try to tell what went wrong technically without revealing the story..

Firstly the anecdotes or the screenplay was pretty messed up and confusing, its like when you show the protagonist's entry when not expected and then moved on to the slow pace back drop story..

The music was fusion with folk songs, but ruined it with the over electronic experimental beats here and there which was totally unnecessary. The chorus and singer's voice was over used during the screenplay which made it quite monotonous and tamed the interest in the movie.. overall wrong choice of music directors.

Screenplay was dull and dark, which didn't quite engage as an audience at all. could have been way better, brighter, with engaging side actors and alive. The cast of childhood actors was wrong, where the girl looks bigger, aged and stronger than the boy, whereas she should've been an innocent looking little girl to make the story more convincing that he fell for an innocent girl..

There were artistic scenes here and there with slow motion which felt like an advertisement on television. The story was good, but the execution was bad, the direction, cinematography, screenplay, and music.. all were messed up and didn't accompany each other. Whereas the acting of the lead character in adulthood was good but proved of least use. Hence, a great opportunity was missed.

Movie is really good but people will take time to understand it. Each and every word and scene of this movie is beautiful but It's not for everyone . And you will have to think deeply about it to understand the work of gulzar Saab and mehra sir. Someday people are going to praise this movie. Many people complain about concept of different time Dimensions but same ending in the end . But it's correct, To have same ending, even I took a day to understand the reason behind it. The mixture of music is great as the lyrics joins everything with nature making it beautiful. Script is short but is to the point. Direction from my point of view is great. Acting is basically based on expressions which is good,. Visuals are outstanding. Story does not offer something new but actually is more realistic.

Mirzya has everything that's required for a musical romance based on a popular Punjabi folktale: a pair of fresh faces (Harshvardhan Kapoor and Saiyami Kher) with great Bollywood genes, a strong supporting cast, and lilting music.

Outside Punjab, the story of Mirza-Sahiba may not be as well-known as the other folktales about star-crossed young love such as Heer Ranjha and Sohni Mahiwal, but it has an equally strong core of emotion. And there's no one better than Gulzar to be able to translate the story into a film, keeping the feelings and idiom intact. A touch of 'Romeo-Juliet' is stirred in to emphasise just how hard the lovers have to fight, and just how much our hearts have to go out to them.But right from the get-go, Mirzya tells us it's going to be more about setting the scene, as it cross-cuts in time — some sequences are as spectacular as anything we've seen recently — than giving us characters that will instantly grab us, and keep us with them. This problem plagues this lush, good-looking production right through, and makes it much less of a film than it could have been.

Transplanting the tale to Rajasthan allows for locations that can take your breath away, despite their overuse in Bollywood. Grand forts, picturesque hamlets, glittering deserts and undulating dunes, and 'rajwadaas' with all their grand costumes and liveried retainers: Mirzya is all eye candy.There's also something sweet and engaging about an initial segment which shows Suchi and Mohnish as childhood sweethearts very attached to each other, who part and meet again in very different circumstances.

The film starts to slide when we meet these two as young adults, Suchi (Saiyami Kher) as a curly-haired miss engaged to Prince Karan (Anuj Choudhry) who bumps into Adil-Mohnish (Harshvardhan Kapoor), and re-kindles old embers. But soon enough it gets stuck in silliness, and a line exchanged between the lovers becomes all too prescient: 'tum aa rahi ho ya ja rahi ho', asks he. The film, much too intent on creating prettiness, gives us no answers: Suchi and Adil-Mohnish come and go minus impact.And that's down to the fact that the lovers do not set the screen on fire. Except for a stray scene, and that too towards the end, when these two look at each other, really look into each other's eyes, and break out laughing, telling us that they are delighting in each other's presence to the exclusion of all else, they are merely spouting lines.Without that crucial element, where lovers create a tight world of their own and no one else is allowed, no romance works. In terms of acting potential, neither newcomer lifts off the screen, but Kapoor fares just a little better than his affectless leading lady: he appears to have a quiet spark which may surface after some more polishing. Flashback to his father Anil and his first film, you will instantly see the difference between an actor being groomed and an actor who is a complete natural, and who makes us look. Choudhry brings something to the table, as does the veteran Art Malik who is made to recite Shakespeare, but they get lost in the window-dressing. And neither K K Raina, hidden under designer glares, nor Om Puri in his muddy-grey garb, have much to do.

Director Mr. Rakesh Omprakash Mehara work as a technician is good but as a creative person notably bad. It is hard to believe that he was the brain behind my two most favorite films "Rang De Basanti' and "Bhag Milkha Bhag'. Not a single shot gives any glimpse of that magic in this film. Screenplay is obsolete and confusing. Writer thought that everyone is well versed with the 'Sahiba-Miraza' story, so he didn't feel a bit of requirement to at least describe the key points of that legend story. Film goes into flashback from present frequently, whenever an emotional scene comes, an intense song but difficult to understand the lyrics takes over with some good visuals. Lyrics do not justify the two different time periods at all. Lead characters childhood scenes are too lame. First of all they don't look cute. Girl looks older than the boy. They seem of age 7 to 8 years but in pre climax it got revealed by boy that he was twelve year old that time. Boy getting late to feed girl 'Til Laddo', teacher show causes him for being late then asks for home work's copy, girl passes her copy to him but teacher sniffs this and then asks girl for her home work copy, eventually leading girl canned. All class give expression as if it was most unusual incident when teacher already cleared that it is well known punishment. Boy keeps mum that time then decide to retaliate in some idiotic way by shooting the teacher!!! It gives first hint that you are going to witness some crap. It is love story but you can't find a faint glimpse of love throughout. Film starts with some high octane action with support of VFX but you don't feel anything because it was not cleared that what is happening and why, actually it was just for the sake of introducing the male lead. Girl went abroad and returns back, her childhood friend is working in her Prince fiancé stable. Again some lame hide and seek identity scene. When girl recognizes the boy is so bad that I strongly felt urge to laugh but controls it with subsided smile, but then after few scenes audience started to evoke controlled giggle and then I joined them shamelessly. Surprisingly there is some weird sense of humor in most of the emotionally intense scenes, which at least save you from getting headache. Boy's Polo playing with his master then flashback of horse riding of past time. Girl wants to learn horse riding, boy trains her and all that blah blah. A key scene of tiger attacking in full moon light looks so fake and crude in the time of so advanced technology. Again thrill lost in making. In climax marriage scene, sneaking out in veil is so old fashioned scene and why that old person supported her is not clear and why that girl commits suicide is also. It was just to add drama but sorry to say it looked absurd and film is full of such type of scenes. Pre climax and climax is unbearable but yes laughter is there for sure. Performance wise all bad actors are stuffed in one film. Harshvardhan Kapoor's looks is good but he speaks stone flat. Even good actress Anjali Patil gone wasted as Zeenat. Nothing to say about rest of the cast. Musically and lyrically 'Ye Wadiyan Dhoodhiyan Kohre Ki' is good.