Mirzya

After a very high expectations, one should desire to gain something extraordinary. I'm from one of them. I'm die hard fan of Gulzar and Rakesh Omprakash Mehra. So, may be you can find it bias.

The legend of Mirza-Sahiban was the concept which Rakesh had to filmed. For that his writer, Gulzar penned a similar story. And then narration goes smoothly in both the eras in the film. What made Sahiban to brake Mirza's arrows is the question to be found. And the team leaves you to think and find out whatever answer you would like to keep.

Anil Kapoor's son Harshvardhan Kapoor is here as Mirza. And it's his debut film. Saiyami Kher plays the role of Sahiban. Both the newcomers had done above average work. All the other actors, like Om Puri, Art Malik and Anuj Chaudhary are good in their respective roles. Some dancers are there, and they keep coming to the screen to tell a pain in a folk-dance form. These little elements make this film a worthy watch.

Otherwise, as far as story is concern, the question of broken arrows is good, but what else we want from the tale? Despite the fact that the team of Mirzya had not enough material to present, the team experiments and develops new things. In these new things, the major one is Indian Cultural Music.

Shankar, Ehsaan, Loy & Daler Mehndi have given the music as well as background score. Gulzar has written lyrics in the form of poetry. Every single song with its meaningful words stays with you in your heart if you are able to listen it. If not, than just O Mirzyaa in the voice of Daler Paaji can able to melt your inner anger and you'll find yourself in some unknown moment which delivers only peace. Title track and Teen Gawah are five out of five songs. Every single bit of these songs are my obsession. I can't describe what I feel when I listen these songs, but for me it's wonderful experience.

Hitchki, Hota Hai, Nadi, Chakora - all these songs deserve awards. No Indian movie has given this type of pure Indian music. And I'm not talking about only this year, I don't remember when did last time I hear these type of purity in Indian movie music. Hat's off! Now, let's talk about Cinematography by Pawel Dyllus. I can imagine whatever Mirzya film shows in Rajasthan. Though, that is superb, but let me be frank. I can imagine this type of cinematography. But... One thing is beyond my imagination, and that is the part of Ladakh. I can't imagine how difficult it was to shoot in Ladakh on such a large level. Like with the usage of 20 horses and 30 people, running here and there, and the little drops of water which move in slow motion with shining. Every single picture or shot is 100% perfect or even above that in the part of Ladakh.

Director Rakesh Omprakash Mehra had given films like Rang De Basanti and Bhaag Milkha Bhaag. These films got successful. But, Delhi-6 and Aks didn't. Mirzya will go in the second category. Box office collection will not be high as M.S. Dhoni is running nicely. And mix review of these movie will not get more people after weekend. The things will be remembered, are the visuals, the unusual film-making, the cultural music with great lyrics, the beauty of Ladakh & the answer of those broken arrows.

Some people don't make films for money, or to be famous, they just make what they want to. I salute to Rakesh and his visions. Film will remain in my heart forever like one line of the title track speaks, 'Marta nahi hai Ishq O Mirza, Sadiyon Saahiban rahti hai'!

Dare to love. Dare to be desirable. Dare to be like Rakesh. Dare to think and develop. Dare to do for self. Dare to be unusual.

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.

The movie begins with some competition taking place at a stunning location of Leh. From the first frame audience are left clueless as when the action just kicks off the other modern tale begins where two school kids in Jodhpur begins the story. The boy Munish played by Harshvardhan Kapoor falls in love with a police officers daughter Suchi played by Saiyami Kher, a tragic incident takes place which falls them apart. After some years, the couple meet each other again but this time Suchi is a soon to be princess and Munish (now Adeel) is a horse trainer and the prince orders Adeel to train his fiancée. Then starts the love triangle between the lovers and the prince Karan played by Anuj Choudhary.

In between the modern day story comes the story about legendary lovers Mirza-Sahiban. The historic love story has not even a single dialogue which not only make the audience confused but also irritates the people . People are left confused whether the movie is about Reincarnation or its the two different story played. Director makes no attempt to connect with either the audience or the tales. The only thing that is served properly is the camera-work and an hunting sequence with the tiger. Music of the movie is decent but the direction, Narration and the tragic let down screenplay makes the audience question about the real content. On top 135 minutes will make you feel like the movie is almost 270 minutes.

Both the new-comers Harshvardhan Kapoor and Saiyami Kher does a decent job since there were not much dialogues and screen time given to prove there worth. The co-actors like Art Malik and K.K.Raina doesn't leave a mark and Om Puri character is meaningless because the role is not clearly defined. Anjali Patil who plays a lover devoted to Adeel makes her screen time count.

Overall go for the movie if you want to witness some beautiful locations and tragic love story but don't expect the magic by the director as he has made some tremendous movies in the past.

Mireya could have been much better if they could have focused on performances and story execution , it's a boring and a major let down Movie !