Zubeidaa

I saw this movie with minimal expectations. Except that Shyam Benegal is known to make 'art' movies.

I left with a most wonderful feeling. Shyam Benegal has bridged the gap between serious movies and the pot boilers produced by Bollywood. I don't expect this movie to be a hit. But here are the things I found fascination in the movie (in no particular order):

i) The character of Zubeida as played by Karisma Kapoor was perfect! If it was the intention of the director to show her as a very happy-go-lucky girl that does not want to be confined by anyone or anything - she has portrayed it superbly. Of course, she DOES come across as being selfish, as not being willing to share the limelight (or her love for that matter) with another. But - that is what she IS!

ii) The story was very melancholic. Interspersed with moments of laughter. But the melancholy prevails thru till the last frame.

iii) Cinematography has a dream like quality (when in flashback mode) along with a matter of fact presence today. I especially liked the sepia tones of yester year juxtaposed with the more real life tones of the present day.

iv) The direction itself is (as usual) flawless. I thought there was a mistake once or twice - but upon rewinding I saw (to my relief) that I was very much mistaken. The only part not so convincing is the plane crash itself. If only Indian movie makers would not mind doing the real thing :-) In particular, I feel the reason Karisma seems to be so perfect in this role, is the director. That is NOT to detract from her performancs! But just having Shyam Benegal as a director raises you to the next level - that you probably never knew existed.

v) The camera work is poetic. Whether in the past or in the present, it seems to caress each of the central characters. Whether it is Amrish Puri or Rose in the past or Rajit Kapur and the palace in the present, the camera seems to linger longingly on each of them. Especially in the present, when the camera seems to wish the place back to life the way it was.

vi) Manoj Bajpai's casting (Victor). This, as expected, is one of the most controversial castings ever done. Manoj's portrayals in movies so far have been anything BUT regal. However, it is MY feeling that he did a commendable job of airing royalty. I thought he was cast perfectly. However, his younger brother seems to be more regal than him. In the one scene in the present, he does look like a former maharaja.

vii) Rekha as the Queen (Mandira Devi). Now THIS was a big no-no in my view. She looked so much older than him! However, if history has to be portrayed correctly, what other choice do we have?

viii) Lilette Dubey (Rose). This is ONE woman you can see as having done her role complete justice. She floats thru it and you are left wondering whether you should be loving her or hating her.

ix) Karisma Kapoor (Zubeidaa). I don't mean to belittle her by talking about her so late in the review. She was perfect for the role. She has done the role perfectly. You love to love the vivacious girl in her. You struggle along with her as she tries to adjust to being a queen - failing miserably. You want to dance with her - when she commits the crime of dancing along with the visiting commoners. You fall in love along with her. She deserves to win the Filmfare award for best actress for 2001. She has proved that she is not a mere bimbette (as Dimple has ably demonstrated the transition from bikini clad gal to fine actress) and is probably the only one of the current Kapoor generation worthy of her great grandfather's name.

I rate this movie a 9 out of 10.

In 2000, Khalid Mohammed, a famous film critic, directed a movie called Fiza. Fiza is one of my favourite films, and I particularly loved the great performance of its leading lady, Karisma Kapoor. In this film, Khalid Mohammed assumes a part as a writer. The one who directs this movie is none other than Shyam Benegal, one of India's all-time best filmmakers, and the one who plays the title role is Karisma Kapoor. This is the third movie in the unofficial trilogy of Benegal movies scripted by Mohammed, all of which are partly fictionalised true stories centred around Indian Muslim women who made a lasting impact on Mohammed's life. The first movie in the trilogy is the brilliant Mammo, which was based on Mohammed's beloved grandaunt, and the second is Sardari Begum, titled after a popular Thumari singer of his mother's era. Both characters actually appear in this movie. But here Mohammed tells the story of Zubeidaa Begum, who was his real mother.

Zubeidaa Begum was the daughter of a famous filmmaker and an aspiring actress. When her father, who disapproved of her dreams to pursue an acting career, found out she was acting secretly in films, he arranged her marriage to Mehboob Alam. However, right after Zubeidaa gave birth to a baby boy, they divorced. Zubeidaa was a charming, high-spirited, incredibly honest and rebellious woman who refused to live her life according to traditional mores and was constantly in search of happiness. One such opportunity presents itself in the form of Maharaja Vijayendra Singh, the prince of Fatehpur, who is already married to a much older Mandira Devi. Vijayendra instantly falls for Zubeidaa, and she leaves everything behind her, including her little son whom her father does not allow to take, to enter his house as his second wife. The story relates Zubeidaa's trials and tribulations in the big house, her loneliness and yearning for her son and for her husband, who has very little time for her.

The story of Zubeidaa is convincingly narrated and is efficiently presented through flashbacks as told to the character of Riyaz, Zubeidaa's elder son who is now a journalist trying to find some documentation of who his mother was. He is surprised to hear that she was a charismatic woman who lived life to the fullest, and the movie is authentic enough to make the viewer feel a connection to the story and to its main protagonist. Unsurprisingly, Shyam Benegal's direction is excellent and he unusually accepts many of the ingredients of mainstream Hindi cinema, which certainly sets this movie apart from his previous directorial efforts. He is aided by Mohammed's script, Javed Siddiqui's fantastic dialogues, the terrific sound design, the wonderful cinematography, and of course the art direction; the sets, the costumes and the props all successfully capture the atmosphere of the 1950s. One cannot go without mentioning A.R Rahman's music which gives life to the film. "So Gaye Hain" is the finest song in the soundtrack and its melody is really calm, haunting and melancholic.

The one who is most responsible for making Zubeidaa the movie that it is and the character so memorable is unquestionably Karisma Kapoor. After delivering an all-time great performance as the main protagonist in Khalid Mohammed's Fiza, she is now cast in the role of his mother to deliver another performance of equally high standards. Shyam Benegal once frankly stated that he actually had not seen a single movie of hers before, and therefore he directed her with utmost guidance. Kapoor's portrayal is indeed heartfelt, real and powerful, and she displays Zubeidaa's feisty nature, determination, yearning, anger and frustration with energy, depth and conviction that make her really easy to relate to. Manoj Bajpai is very fine as Zubeidaa's loving husband. Rekha is superb as Mandira. She is amazingly restrained and graceful and is mysterious enough to make one wonder what her real take was. The supporting cast includes Amrish Puri, Surekha Sikri, Rajit Kapoor and Lillete Dubey, and all of them manage to leave a mark.

Zubeidaa's ending is really poignant, but its melancholic and bittersweet feel actually explains why Zubeidaa Begum will be remembered. It's great that Mohammed decided to immortalise his mother even though he sadly did not even know her that much in her life and her portrait existed in his mind only from stories he had heard from those who knew her. Anyway, kudos to Mohammed, Benegal and Karisma Kapoor for making Zubeidaa the entertaining and moving picture that it is.

Shyam Benegal is not generally associated with opulent cinema. So when, I saw the trailers of this movie, which boasted of Shyam Benegal's direction, Khalid Mohammad's story, A.R.Rahman's music & Karishma Kapoor's acting, I was quite intrigued. Little did I know that the memory of Zubeidaa would haunt me in the years to come.... Zubeidaa, without a doubt, is one of the finest Indian films I've ever seen. Why??? Well, here are 10 reasons:

1) Zubeidaa was like a breath of fresh air in 2001 when the landscape of Bollywood was pathetically repetitive. A beautiful and a poignant story with an equally brilliant screenplay is the backbone of the film.

2) Shyam Benegal is able to re-create the magic of the 50s & the 60s. Right from the minutest detail in the frame till the most trivial gestures of the actors...it all oozes the rich sophistication of the bygone era.

3) The sets, the costumes, the props.... You cant help but notice the ocean green eyes of Karishma, the luscious red sarees, the whole mood was jussssst right!

4) A.R.Rahman's haunting music paired with Javed Akhtar's lyrics give you some very unforgettable moments in the movie.

5) Beautiful characters.... The patriarch Amrish Puri, the meek Sulekha Sikri, the suave Vajpayee, the very elegant Rekha. But the limelight is on Karishma Kapoor, whose complex character haunts you....

In the name of good cinema, please watch Zubeidaa!

Riveting performances. Strong female characters. Patriarchy and the position of women.

Zubeidaa was a real person. Shyam Benegal has tried to portray her story through the movie. When Indian films graduated from the silent era to the talkies, Zubeida starred in the first Indian talkie - Alam Ara. She was a divorcee who fell in love with the then maharaja of Jodhpur. They got married but Zubeida never earned the status of a queen. She always remained the 'other woman'. Zubaida married the late Maharaja of Jodhpur Hanwant Singh, a high- flier who fell for her beauty. Both the Maharaja and Zubaida were killed in an air crash near Jodhpur 48 years ago. Their son, Hukum Singh, popularly known as Tutu Bana, was murdered fifteen years ago under mysterious circumstances at Jodhpur. Well known film journalist Khalid Mohammed, Zubaida's son from her first marriage, wrote a story on her late mother. Originally, it is a love story, but for the film version, little changes have been made. Now the film - Karishma Kapoor has matured as an actress. She was known as Govinda's heroine. Now with movies like Fiza and Zubeidaa, Karishma has shown that she can act. Rekha is wonderful in her short but important role as the King's elder wife, Mandira Devi. The only flaw I found was casting of Manoj Bajpai as the king. The Rajput kings were really majestic looking - tall and fair and very cultured. Manoj Bajpai did not have that in his personality though he made for it by his acting talent. This is not a typical Shyam Benegal film. People expecting a serious thought provoking movie would be disappointed. This is Shyam Benegal's first attempt to bridge the gap between Commercial cinema and the 'art' cinema.

The movie is a love story of a journalist talking to people trying to find out all he can about a mother he never knew. He meets people and through them Zubeidaa's story unfolds. I enjoyed the movie and give it 7 out of 10.