Raincoat

Note: Review out of 4 Stars

Raincoat (2004)

Oh, what a wonderful wonderful film! This is why I love movies. Raincoat is undoubtedly the best film of 2004. Along with three brilliant performances by Aishwarya Rai, Ajay Devgan and Annu Kapoor this film excels in many other departments as well. Aishwarya looks divine. She has acted with magnificence, her best performance yet. Rituparno Ghosh directs this gem of a movie and also writes an excellent screenplay with intricacies and subtleties seldom found in Indian cinema. He is probably one of the best working directors in our country today who surely knows how to adapt a novel or a short story. He creates a dark and eerie world for the two characters a perfect setting for the both of them to … TALK.

Yes, talk.

Actually that is what happens in almost the entire movie which is its strong point, if nothing more. It's a story of forbidden love of Neeru (Aishwarya Rai) and Mannu (Ajay Devgan). Not a love story with all the mush-mush and bollywood style ridiculousness. They were in love but couldn't marry due to some reasons which are not told directly and that's where your brain has to do the working. Watch the film with patience and full attention and you'll notice everything.

So what does a Raincoat have to do with two people who couldn't marry and meet again after a few years? Well, I'm not gonna tell you that. Watch this film and be amazed. I was befuddled when it started, I couldn't believe it was happening. This was movie magic!

The cinematography is beautiful and the sets and the costumes are fabulous. The editing is fast paced and carefully handled. And I haven't gotten to the music yet. So wait. The music is fan-frickin-tastic. Shubha Mudgal lends her voice to create some very beautiful Radha-Krishna renditions which complement the film and further add to the greatness of the movie. 'Akele Hum Nadiya Kinare' 'Mathura Nagrapati' 'Raha Dekhe' and 'Piya Tora Kaisa Abhiman' (also sung by Hariharan) are all awesome. The ending is perfect. Spot on!

But I don't call this an ART FILM. In fact, I don't believe any movie can be categorized as an art film. Call it a sensible film and ill give you a pat on the back. There is either a good film or a bad film (plus the superlatives). And this is an excellent film. As I said, this is why I love movies.

Rating: **** (A modern cinematic masterpiece) (It would be criminal if I didn't add that)

P.S. Those who prefer to watch only mindless comedy or romantic flicks, ill just tell you this – STAY AWAY! (Cause you think that movies are only made to make you laugh which shows what an awful person you are, no offense)

The movie is inspired by O. Henry's (William Sidney Porter) "The Gift Of Magi" which Rituparno Ghosh duly acknowledges as the credits roll.

No giving away too much of the storyline, the movie picks up a day from the diary of Manoj (Ajay Devgan), lost and failed in life, now in Kolkatta to seek financial assistance from friends in order to start a business. Admist this, he decides to visit his lost-love Neerja (Aishwarya Rai). Ironically, its a rainy day and hence the Raincoat.

In terms of acting, its Annu Kapoor who stands tall, pity that his acting talent is confined to Antakshari. As a compassionate yet frustrated land-lord he gets into the skin of the character in terms of the accent and mannerism.

Ajay Devgan has matured to a dependable actor and once again proves that he can portray any role with ease.

Aishwarya Rai, not to mention director's favourite, "had" immense scope in this tailor-made role, sadly does meet the mark. Somehow it appears that she lacked conviction (or was she busy paying greater attention to Bride & Prejudice - a step to International fame?). On and off she used to mutter a few Hinglish words to convince the audience that Neerja hailed from a village. A bit of homework to watch Smita Patil, Shabana Azmi and Tabu would have been definite help. Or for that matter watching a newcomer Konkana Sen Sharma in Mrs & Mr. Iyer would have given an insight to the amount of conviction and hard-work needed to pull off a fantastic feat.

Surekha Sikri (Ajay Devgan's Mother) did not have enough screen-time.

Mouli Ganguli (Meena) played a modern yet sensitive and understanding friends wife. It is how-ever not explained the reason she was was over-hospitable?

Debajyoti Mishra's music is aptly used to compliment the richness of the visuals. Shuba Mudgal's song "Piya Tora Kaisa Abhimaan" lingers throughout the movie in the background and Gulzar's recital of the poetry give an additional depth to the dimension.

Having read so much about Rituparno Ghosh, I was curious myself to watch Raincoat. And boy, he does have substance. The essential emotion "covert" used by two lead protagonists forming the baseline of the story is portrayed effectively with utmost sensitivity. The control over portraying relationships, the finer nuances taken care of, speak for itself to deliver a product that is nothing short of perfection.

The movie sans commercial ingredients and hence sadly, would be confined to appreciation from a limited audience. And for those limited audience - a must watch.

Well, Now, I've heard about this film before, but, I didn't rent the movie all these days thinking that it would be a melodrama booh booh kinda stuff. But, really speaking, after I've finished up this film, I really can't help thinking about the movie for a long time, without sleeping. Easily, I can say this is one of the best ever romantic dramas I've ever seen.

Speaking about romance, this is not the kinda stuff we see in movies from Yash, Aditya chopra and karan johar. These movies have an artificial type of romance, unseen normally in real life (unless u r a millionaire or a business man and u have all Ur life to go to states and fall in love). But, the kinda romance shown in 'Raincoat' belongs to the other type. Just imagine, U had a love during college days, and it gets broken. She (or for that matter, he) gets married to someone else, and, after many years, u just happen to visit the house of your love on a rainy afternoon. What will you do? That is Raincoat. The romance here belongs to a more matured type. The respect and passion both lovers have towards each other, even after many long years, has been excellently portrayed here.

Also, there is a sudden twist to the story almost half way through the film. It is this twist that makes the film more interesting and passion-filled. From this moment on, the film takes a new form and fills the heart of the viewer with emotion.

Almost entirely, the film features only Devgan and Aishwarya. The background score supports the film very well and has been superbly composed.

If u find time for a good movie and if u want to see some good performance, take this film and see it. U won't regret . . .

Raincoat was the opening gala movie at Filmfest DC (Wash. DC)last night. Filmfest DC is entirely foreign (non-US)movies--it goes on about 12 days. The theatre was almost filled, even at $40 a ticket, and the great majority of the audience were non-Indians (including me). The director, Ghosh, was there for a short introduction and a few questions at the end. I was able to ask him a question privately at the reception afterwards, but unfortunately nothing profound occurred to me at the time. Duh.

If you have read any of my posts on the Aishwarya section, you know I am enraptured by her. I am working my way through her movies, so of course I went to see this one. I read through all the previous posts here, and I think they're generally on the mark, but I have some additions.

Art as ambiguity--I think some of the comments about the movie being "art" or not are misleading. All movies are "art." But some art is better than others; great art needs several elements--one is that it's ambiguous enough so that each person feels it's directed to him/her personally, and each person sees something a little bit different in it, or interprets it in a slightly different way--and each way is backed up by evidence. Nor do the director/actors have to consciously intend each interpretation. You can see from previous posts that Raincoat certainly succeeds in this. Is Meena in love with her husband or not? Happy or not? Will Manu collect the money from his friends or not? Will the landlord keep his word or not? What is the significance of the rickshaw in the final scene? etc. The symbols in the movie (the raincoat, the rain, the shutters, the jewellery, the train, the wallet, etc.) all have various levels of meaning. And the themes--love, loss, truth, despair, failure--the movie has something to say about all of these. And even more, it makes you realize what YOU have to say about each. Say it together: It makes you think! Is the story consistent? One of the audience asked the question: "When Neeru went out to get lunch, why didn't she think Manu would look around her house?" Ghosh answered, correctly, that she expected Manu to act in character--he is reserved, not pushy, etc. Manu and Neeru spend the visit lying to each other--but that's what they did in their earlier lives, too, but in a different way. And, as we see Manu interact with his friend and his wife, he lies to them too. Everything is consistent.

Foreshadowing--actions, especially significant ones, shouldn't just pop out of nowhere. They need to be set up, so when you see them you think back and say, "Of course!" (back to consistency!) (Letter, doorbell, necklace, wallet, cell phone, sari....) Nothing extraneous--There shouldn't be anything stuck in that's not necessary. I think this is perhaps the chief virtue of the movie--I can't think of any item, any visual effect, any action, any piece of dialog, that could be taken out without detracting from the movie. Another post wanted more back story--longer flashbacks--No! We don't need to know more. Knowing more eliminates some of the ambiguity.

Atmosphere--everything very coherent. It reminded me of a first novel by an Indian woman who had just graduated from Princeton--I can't remember her name, but it came out in c. 1995, and I think the title was "Rain." It was about an Indian woman who married an Englishman, had a baby, and then decided to leave him--it was set in London. Different story than the movie, but the atmosphere was almost identical--same feeling of loss, regret, inevitability, etc.

Aishwarya--I have been comparing her other movies to my friends by saying they are like the Drew Barrymore/Meg Ryan movies. All these women are really playing versions of themselves--which is great! I like them all! But Aishwarya doesn't play Aishwarya here. Neeru is not Aishwarya at all. And the "flashback Neeru" is totally different than the Neeru in Calcutta--different look, different expressions, different voice, etc. I'll give the director all the credit he wants for this, but you know what? Aishwarya had to actually pull it off, and she did. Are there other actresses who could do this? Sure--Meryl Streep, Nicole Kidman, Charlize Theron...hmmm, not too many others. If you can be grouped with people at the top of your profession, I'd say you were doing OK. Let's have no more talk about how she can't act--she can! Aishwarya #2--In the Aishwarya section of IMDb is a string of posts discussing plastic surgery, etc. Raincoat should have put an end to that nonsense--look at all the profile shots of her nose! This movie makes her look (I think) more "Indian." Fine with me. And she presents herself in scene after scene as less than attractive--whiny, superficial, too talkative, etc.--all part of the character, and certainly not the Aishwarya I've seen in other movies. A brave performance to put yourself out there like that--especially if your claim to fame is your beauty.

Faulkner was once asked what one of his novels was about, and he said "Christ." The questioner thought he was swearing, but he was answering the question. Star Wars, ET, and Lord of the Rings are about Christ too. It's hard NOT to reflect your own culture. To what extent does Raincoat reflect Hinduism? I think I can see some elements, but I'm not a Hindu. Resignation? Fatalism? A cycle of existence? The unreality of reality? Being trapped in life itself? Any thoughts?

I bought the soundtrack in India last month and fell in love with the music. And I finally saw the movie today........wow. I can't believe this is an Indian movie! Don't get me wrong, I love many Bollywood films, but let's face it, there's a formula. There's no formula in Raincoat. To explain in more detail: There's no dancing. Ashwarya looks pale and sullen not her usual drop-dead gorgeous. Most of the movie takes place in one room, so if feels like it was written as a play. And lastly, the pace and style seems very French in that the plot is deep and is revealed slowly.

Because an Indian film managed to do all this, I have to give it a 10. It's definitely in a league with great European films. But it's not better than great European films. The only weak point is Ajay Devgan's lack of expression in certain scenes. His dialogue reveals a man who is at times innocent and gullible, yet at other times he's an adroit liar. His facial expression only fit the latter. Annu Kapoor almost steals the movie away from him.

Ashwarya proves she can act in this film, and I applaud the director for giving her this role. Could any other young star have done any better? No. (But wouldn't Shabana Azmi have been magnificent?) See this movie if you love great films. Don't see it if you want to see a typical Bollywood film.