Saathiya

Saathiya is a romantic drama film directed by Shaad Ali. The film stars Rani Mukerji and Vivek Oberoi with Tanuja, Sharat Saxena, Sandhya Mridul, Satish Shah, Swaroop Sampat in the supporting roles and Cameos by Shahrukh Khan and Tabu.

Aditya and Suhani runs away and get married as they weren't supported by their parents. However, cracks soon begin to develop in their fairy-tale romance.

There is no doubt that Hindi film industry specially big giants like Yashraj films and Dharma production has a long obsession with romantic films and they have even gave some of the memorable films to Hindi cinema such as Kabhi Kabhie, Silsila, Dilwale Dulhaniya Le Jayenge and Veer Zaara from Yashraj films with Kuch Kuch Hota hai, Kal Ho Na Ho from Dharma prodution and in 2002 Yashraj Films comes with another romantic film Saathiya which might not be in the league in these class films but still has a cult following and often considered as one of the good romantic films if not best.

The good or bad with any romantic film is that the films are very predictable and almost all the films have happy ending as none of the film maker wants to take risks by trying any unconventional method of film making in this genre and Saathiya is no exception. The film has some good twists and turns but soon gets into the conventional method of film making and will surely be liked by the set of viewers who likes romantic films but for the rest this will be other predictable cliched drama.

The screenplay of the film is good with a superb climax but the end of the film might pinch to few of the viewers as though the film ends on a happy note but ends abruptly and off course we would've loved to see Shahrukh and Tabu little more on screen.

The acting in the film is top notch and all the characters were superb with Vivek Oberoi and Rani Mukerji the most impressive of them all. Vivek Oberoi is one of the most underutilized talent of Indian Cinema and the true lovers of Hindi cinema will never forgive Salman Khan for ruining the career of this supremely talented actor. Supporting cast like Sandhya Mridul, Satish Shah, Sharat Saxena, Tanuja and Swaroop Sampat were also very impressive.

Music and BGM were good. The title track of the film along with Chalka Re, Aye Udi Udi Udi and O Humdun Suniyo re are treat for ears. Thanks to the music maestro A. R. Rahman for such mind blowing music and the wizard with pen Gulzar Sahab for such mesmerizing lyrics.

For the typical romantic films fan they will surely like the film but for the others this will be another one time watch predictable film.

Remakes, remakes and remakes. Some from Hollywood and some from South India. And the results at the box-office are mostly the same. FLOP! But why? Because these remakes can't achieve the status of the original versions (although good story, good performances or good music). Therefore directors are remaking their own films in Hindi but are failing, as well, because there is too much South Indian touch (Nayak – Mudhalvan; Rehna Tere Dil Main – Minnale; Dil Hi Dil Mein – Kadhal Dhinam; Doli Sajake Rakhna – Aniathiypravu etc.).

Saathiya, a Mani Ratnam creation, is a great movie. The film's strength is that it is suitable to North Indian milieu but fails to reach the quality that `Alai Payuthey' spread.

So where is its weakness then? Vivek Oberoi? Certainly not! It's a difficult job to top Madhavan's great performance in `Alai Payuthey'. Vivek won where Madhavan failed.

Rani Mukherji then? She portrayed her character, Suhani Sharma, completely different as her counterpart Shalini did in the original version. Both were great and for me difficult to say who was the better one.

So A.R. Rahman? He was the one who gave the wonderful scent to `Alai Payuthey' which you won't forget so easily. The songs and the background score which is filled with soulful tunes are absolutely great. It's one of Rahman's best works and he knows that he can't top it. As a result he didn't bring too many new songs which would destroy his early work. His new songs are nice to hear and fit to the North Indian milieu. The orchestra in the climax where Vivek apologizes to Rani is absolutely mind-blowing.

Gulzar then? I must admit that I don't understand Hindi and not much Tamil (thanks to English-subtitling) but the songs have good meanings and are as good as Vairamuthu's work for `Alai Payuthey'.

Perhaps Shah Rukh Khan and Tabu? Shah Rukh Khan is fantastic in his 10 minutes and portrayed the role differently as Arwind Swamy did. Tabu is unfortunately not as good as Khushboo who has done a superb job in Tamil.

But where is then the problem? It's certainly unfair to compare a youngster's work like Shaad Ali's with that one of a genius like Mani Ratnam's. Ali's direction is very good and is the best debutant director since Farhan Akhtar for Dil Chahta Hai. But small scenes which might be unnecessary are missing to achieve a very good quality. For example, in Saathiya `Aditya' has no one whom he can tell all his sorrows and lands up as a depressed husband. `Karthik' in Alai Payuthey talks with his Malayalee neighbour/houseowner (in Hindi Tinnu Anand) about love, marriage etc. and gets new hopes to set a new beginning in his marriage. The climax also in Tamil which has a more realistic look is better than in Hindi which is too filmy despite Vivek's performance and Rahman's orchestra. A clear parallel between Shah Rukh Khan/Tabu and Vivek Oberoi/Rani Mukherji could not been attained, as well.

But Ali has given the film a more youthful look than Mr Ratnam has done (more hanging out with friends, parties etc.) and like mentioned before, a suitable film to North Indian audiences and it is a film that is worth watching (though not as good as `Alai Payuthey').

Alai Payuthey 9.5/10; Saathiya 8.5/10

When you come across a film like first-time director, Shaad Ali's offering, `Saathiya', you want to stand up and cheer. Now, Shaad Ali is the son of Muzaffar Ali who made the exquisite 1981 film `Umrao Jaan', so perhaps his sensibilities and instincts were genetically acquired! Amidst the dreck that is churned out relentlessly by the world's movie industries, a `Saathiya' is that rarity: a simple film, devoid of pretension, that quietly goes about its business and disarms the viewer with its honesty and intensity. `Saathiya', which translates into `partner', deals with every aspect of the partnership involved in marriage.

As the film opens, a young man, blissed out on the music from his earphones, weaves his way through the heavy Mumbai (formerly Bombay) traffic on his motorcycle. He is on his way to the train station to meet his wife, who commutes to her job as a pediatrician in the city. When she isn't on the first train, or the next one, or the next, we watch him, as the night wears on, go from mildly irritated to anxious to completely distraught.

Inter-cut with the scenes of his harried efforts to track her whereabouts, is the story of how they met, how he wooed her, their marriage and evolving, perhaps crumbling, relationship. Through the flashbacks you get to know them, and with rising apprehension, witness his frustration and fear at not being able to find out what has happened to her. Has she left him? Was she abducted? Is she lying wounded or, worse, dead, in some ditch?

As the film takes you back two years, you see him-young, brash, immature, but essentially good-hearted-meet the young woman for the first time. This first encounter takes place at a friend's wedding, where she snubs him. She is brainy, sensible, focused on her studies, and wants no part of a silly romance. Now this is nothing new: countless movies have begun in this manner, but where it takes you and how their story is told, is where this one differs from the rest.

The film worked for me on every level. That it is mesmerizing should come as no surprise: the screenplay is by Mani Ratnam, while the dialogue is by Gulzar. These masters take the commonplace and turn it into pure gold. With such superior writing, the characters spring into vivid, recognizable life, and give the director and actors so much to work with. The writers have kept everything grounded in a solid, everyday reality: the different social milieus from which the leads come are familiar to all of us. The young man is spoilt and comes from an upper middle-class family. But, his father's affluence is believable-he is a successful lawyer-in the manner of the everyday world. There is not a trace of `Devdas'-like excess in this film. The young woman's father is a railway employee, and they live in the railway staff housing. Her family, too, in their simple, unglamorous routines, is credible in the way of millions of people are the world over. At the only meeting between the two sets of parents, the lawyer carps that it was difficult to find the other man's house because all the dwellings in the area look alike. The girl's father takes no offence at this; he merely tells the lawyer that that's how the other half lives. Unfortunately, it's downhill from there: the visit ends with an impasse. The parents actively dislike each other, and an alliance between the two families looks unlikely.

Once their backgrounds are established in quick, broad strokes, we get down to the business of seeing the lead characters evolve. His ardour melts her resolve; they encounter resistance from their parents, they elope and set up house on their own. We watch them go from young, hopeful lovers to stressed-out, bickering married people. Life in the big city is not easy, as they find out, and neither is marriage. `Poor dears, come join the club!' you think, as they take faltering, tentative steps toward adulthood. Just like the rest of us, they are trying to muddle through. You root for them and get genuinely caught up in their lives.

The young leads are perfect. Rani Mukherjee has always struck me as an actress with potential. Though most of her films only require her to look good, something she accomplishes with ease, she has impressed in films like `Kuch Kuch Hota Hai' and Kamalahasan's self-indulgent yet brilliant-in-patches `Hey Ram'. Rani fleshes out the character of Suhani Sharma beautifully and makes her someone you care about deeply. Likewise, the new actor Vivek Oberoi, invests his character Aditya with poignancy and great feeling. Though Aditya is callow, even silly, you see his passion; despite his posturing, you glimpse his insecurities and vulnerability. This young man is a fine new addition to the ranks of Indian actors. The supporting cast does not have much to do, as the film focuses entirely on the lead pair, but Sandhya Mridul, as Suhani's older sister, Dina, is quite lovely. Tanuja, who plays Suhani's mother, perhaps defines what is meant by the term `working actor': someone who takes an acting gig to either pay the bills, keep busy, or just wishes to be involved in any way at all with a quality project. I'm hoping that it's for the last reason that she took this job. The part offers no scope for her talent and could have been played by an actress of far lesser skills. Sharat Saxena, who plays Suhani's father, has come a long way from the inconsequential thuggish roles he played in the eighties, and displays an unexpected gravitas (and a full head of silver hair!) here.

At the risk of sounding sacrilegious, I'd like to say that this was a film that could have been made without songs. It needed no embellishment, and the songs don't further the story or offer any expository detail. Having said that, A. R. Rahman's music is pretty and a couple of the songs linger in the memory. I recall a quote from either Gulzar or Javed Akhtar that A. R. Rahman is the only contemporary film composer who is not daunted by lyrics in blank verse. May his tribe increase! Gulzar's lyrics, as usual, are sublime, so I suppose it's good that songs were included. I can barely believe my luck that within a 24-hour period, I saw TWO excellent films: `Saathiya' and the Pedro Almodovar gem `Talk To Her'. This does not happen often, you can be sure!

Yes, the film is almost like any other hindi film and yes its unbelievable how far better it is, than any of its contenders. A fabulous love story of a boy and a girl who marry each other against the wishes of their parents and society, 'Saathiya' shows the human side of love, stressing on the problems human beings deal with and work through in order to maintain a relationship.

The songs are amazing and their picturization magnificent. The movie has good doses of fun, emotion and tragedy. Rani Mukherjee looks ravishing and will take your breath away, she almost looks and acts like the perfect wife for any young man. Vivek Oberoi, who is very clearly the find of 2002 as far as the Hindi Film industry is concerned, turns in another great performance, he is absolutely flawless in the film, portraying the many emotional facets of his character 'Aditya Sehgal', with an almost unrecognizable ease. Shaad Ali puts in a fantastic effort for his first film, picking the perfect actors with the perfect locales to create a near perfect film. I cannot yet comment on the replayability of this film as I have only seen it once, but it is almost a surity that the movie would be as good on the second watch. A 10/10 film, and a must watch.

With Mani Rathnam and A R Rehman linked to a project, one cannot be in to much doubt that if nothing else the music is going to be mind blowing.

But that was not the case with Saathiya. It not only had mind-blowing music and score it was one of the best movies of 2002.

The music and the respective picturisations are excellent, especially in the case of the title song ‘Saathiya'. My other favorite song is the tongue in cheek song ‘Choori pe Choori'. However all the other songs are very pleasurable as well. The main question was how would first time director Shaad Ali perform on this story, that would be a remake of Mani Rathnam South-Indian movie be as good as the original? Would he produce an art movie piece as his father (Muzaffar Ali) has done with movies like Umrao Jaan, or would he deliver a commercial piece? What one can be sure of is that Shaad has taken the craftsman of his fathers art movies and put them to commercial use, and delivered a movie that is unique, professional, modern and outstanding.

The acting is excellent as is the story line. Having liked Rani from Ghulam to K3G, is wonderful to see her finally taking the lead in a role that does her justice. Her realistic portrayal of Suhani, a modern genre women dealing with the trials and tribulations of married life is excellent. Having not seen anything of Viveks before, is was a surprise to see an actor of his young caliber holding such presence on screen, that it overshadowed SRK. It is evident that this actor will reach high strides in his coming career.

For a change this movie actually delivers a subconscious message, something not commonly done in bollywood movies. The message is ‘lifes to short, tell those around you how much they really mean to you'. Taking this to heart, I can truly say that I loved Saathiya.