Beyond Chiffon Sarees – Yash Chopra

Beyond Chiffon Sarees – Yash Chopra

Mujeer Pasha

Mujeer Pasha

Mujeer Pasha is based out of Bangalore and writes everyday about everything that does not add value. He tells stories to people he meets in person and makes films occasionally (whenever a film festival is around).
Mujeer Pasha

Latest posts by Mujeer Pasha (see all)

#HappyBirthdayMerchantOfLove #YashChopra

It was the year 1989, when a chiffon saree palloo was first seen flying in a foreign location. Yash Chopra, the filmmaker who could be held solely responsible for setting this trend, which was repeatedly picturized by numerous filmmakers in their mediocre and some memorable Bollywood movies. Yash Chopra, the storyteller whose characters (not all, but mostly) did very little with their lives other than falling in love and dealing with its complications. As if there was nothing more important than being in love, being driven by it, being torn by it, longing for it and waiting for years to meet the lover again. Yash Chopra, the man who told us lies about love- that if you love truly and hang around for a little longer, then they will come to you and love you like you want them to. Today, he is out of this world, quite literally too, but he has left an impression which is not easy to wipe off.  I wonder why he sold us this unattainable idea of love? Did he believe in something so extraordinary and larger than life? At this moment, I am going to make an effort to dust off the poetic glitters from it and look into the lover he might have been.

He was over 40 when he made his first out and out love film- Kabhi Kabhie. As he grew wiser, the lover in him (as portrayed through his films) grew more passionate & more adamant. It was only in the later years, that he became calm and almost passive, just like before. It’s quite a challenge to ignore the similarities between his characters. They all mostly came from Punjabi families. They were well-read, well-spoken, well-behaved, well-dressed, traditionally good looking and sang in a voice like Lata Mangeshkar’s (the women body form at least). No matter how many different bodies he cast, he was the soul of every character he portrayed. The lover in him might have lived vicariously through his characters.

Let’s begin with 1976. The lover let go of his love for family’s sake and got married to someone else (Kabhi Kabhie). In the next 6 years, the same lover found strength and defied his marital bondage to seek the company of his beloved (Silsila). But he was not strong enough. He accepted his fate and let go of love again.  9 years later, the lover was naïve and fell in love with an older person, and wished to be older enough to be their companion (Lamhe).  2 years later, he became obsessed and aggressive and wanted to have his beloved at any cost (Darr). But then this maniac lover learnt a lesson and died floating in a pool of blood leaking from a broken heart.

4 years later, the same lover was reborn. But he was a changed person. He was sensible and believed in the soulmate theory so strongly that it turned true each time (Dil To Pagal Hai). He loved and didn’t press hard for love in return (Veer Zaara). He remained in love even in the absence of his lover (Jab Tak Hai Jaan).

Also, this lover had magical hands, which could transport all his lovers to Switzerland by a mere touch. He was very adventurous; mostly fell for people who were not available. Loved them unconditionally and made them fall for him. The last part is pretty tricky to believe.

Yash Chopra’s expression of love was mostly monogamous, long-lasting, reciprocated (almost all the time) and overtly romanticized. Well, this flow of thoughts must end right here.  I am going to leave you all with the non-poetic translations of a few of his popular songs.

 

Kabhi Kabhi mere dil mein khayaal aata hai, ki jaise tujhko banaya gaya hai mere liye. –Sometimes, I think we are meant to be.

Teri baahon mein hain jaanam, mere jism-o-jaan pighalte- I feel like a new person in your presence.

Yeh lamhe, yeh pal hum barson yaad kareinge. Yeh mausam chale gaye toh hum fariyaad karein-I will cherish these moments and will want to experience them again.

Toot gayi, toot ke main choor hogayi. Teri zid se majboor hogayi- I dropped all my guards and fell for you.

Saans mein teri saans mili toh mujhe saans aayi- I feel alive in your presence.

Tere Dil mein main apne armaan rakhdoon, aa meri jaan main tujhe mein apni jaan rakhdoon- This is pretty complex. Let’s skip this.

SatyaKaam –  Cinematic Truth

SatyaKaam – Cinematic Truth

Prakash Khare

Prakash Khare

Retired Government Officer, Big Time Indian Cinema Fan, Old Film Encyclopedia
Prakash Khare

Latest posts by Prakash Khare (see all)

#70 #Scriptors100BestFilms #Satyakaam

हृषिकेश मुख़र्जी ने एक से एक बेहतरीन फिल्मों का सृजन किया है लेकिन उनकी स्वयं की पसंदीदा फिल्म  वर्ष  १९६९ में प्रदर्शित फिल्म सत्यकाम रही है। आलोचकों को इस फिल्म में  यही कमी नज़र आयी की फिल्म के नायक  का चरित्र अकल्पनीय रूप से आदर्शवादी व्यक्ति का है जो इस दुनिया का नज़र नहीं आता है। लेकिन फिल्म की कहानी की पृष्ठभूमि को देखें तो इस आदर्शवादिता को न्यायोचित ठहराया जा सकता है|फिल्म की कहानी की पृष्ठभूमि स्वतंत्रता के ठीक पहले की है जब देश का युवा भविष्य में होने वाले सकारात्मक परिवर्तन के सपने देख रहा था और स्वंतंत्रता संग्राम के कारण उसके मन मस्तिष्क में ईमानदारी और आदर्शवाद की तरंगे हिलोरे मार रही थी। और इन्ही परिस्थितियों की उपज थी इस फिल्म का नायक – सत्यप्रिय आचार्य। लेकिन स्वतंत्रता के बाद स्थापित लोकतंत्र में सत्ता में लोक की भागीदारी तो होती है लेकिन तंत्र नहीं बदलता। यहीं इस नायक के आदर्शवाद का टकराव इस भ्रस्ट तंत्र से बार बार होता है लेकिन वह कहीं भी अपने आदर्शवाद से समझौता नहीं करता। केवल एक जगह वह कमजोर पड़ता है जबकि वह फिल्म की नायिका को एक भ्रस्ट और अय्याश राजकुमार की हवश का शिकार बनने से रोकने की कोशिश नहीं करता। लेकिन इस घटना के बाद पुनः उसका ज़मीर जागता है और वह उस हवश का शिकार बनी नायिका व उस घटना से उत्पन्न बच्चे को अपनाता है। जिसके कारन उसे अपने धार्मिक आचार विचार वाले दादाजी के द्वारा भी बहिस्कृत कर दिया जाता है| नायक को अपनी ईमानदारी और आदर्शवादिता के कारण हर जगह मुश्किलों का सामना करना पड़ता है और अंततः वह कैंसर का शिकार हो जाता है इसके बाद वह अपनी पत्नी व बच्चे के भविष्य की खातिर पुनः समझौता करते हुए दीखता है परन्तु तब तक नायक के साथ संघर्ष करते करते उसकी नायिका पत्नी इतनी इतनी मजबूत हो चुकी होती है की वह उस भ्रस्ट समझौते के कागजो को फाड़ कर फ़ेंक देती है क्योंकि वह आदर्शवादी नायक को उसके अंतिम समय में हारते हुए नहीं देखना चाहती। इस समय पर मरता हुआ नायक मुस्कुराता है और यह मुस्कराहट नायक की विजय को दर्शाती है की उसने कम से  कम एक व्यक्ति को तो बदल दिया है। अंततः उसके मरने के वाद बच्चे के मुख से सत्य वचन सुनकर दादाजी भी द्रवित होकर नायिका और उसके बच्चे को अपना लेते है

 निस्संदेह यह धर्मेन्द्र के फ़िल्मी कॅरियर में अभिनय का सबसे बेहतरीन प्रदर्शन है। एक ईमानदार और आदर्शवादी नायक के चरित्र को उन्होंने बखूबी निभाया है। सामान्यतया रफ़ टफ चरित्र निभाने वाले धर्मेन्द्र में एक ऐसे चरित्र के अनरूप आवश्यक दृढ़ता व सौम्यता दोनों स्पस्ट रूप से परिलक्षित होती हैं। सत्य को बिना लागलपेट के कहने की उनकी शैली अद्भुद है। जब वह अपने दादाजी से अपने बच्चे के बारे में कहते हैं की “यह बच्चा मेरा है लेकिन मुझसे नहीं है” तो दर्शक स्तब्ध रह जाता है। इतनी कठोर सत्यता को इतनी बेबाकी व सजहता से बोलने का कारण यह दृश्य फिल्म का हाई पॉइंट बन पड़ा है। इसके अतिरिक्त अपनी आदर्शवादिता के कारण मुश्किलों उठाते हुए नायक के चरित्र में उत्पन्न हठधर्मिता खीज व कुंठित अहंकार को भी धर्मेन्द्र ने बखूबी प्रदर्शित किया है।

दूसरी ओर इसके पहले ग्लैमर भूमिकाएं निभाने वाली शर्मीला टैगोर ने पहले एक हवश का शिकार होने वाली मजबूर महिला व आगे आदर्शवादी नायक के साथ मुश्किलों का सामना उठाती हुई कुंठाग्रस्त पत्नी के चरित्र को बखूबी निभाया है फिल्म के अंत में जब नायिका नायक द्वारा हस्ताक्षरित अनैतिक समझौते के कागज़ों को फाड़  देती है और नायक के मुस्कुराने पर कहती है की तुम्हे पता था की मैं यह फाड़ दूँगी तो यह दृश्य बहुत ही मार्मिक बन पड़ा है और फिल्म का दूसरा हाई पॉइंट है।

फिल्म का तीसरा हाई पॉइंट है जब नायिका का बच्चा यह कहता है क़ि दादाजी झूठ बोल रहे हैं ये हमें इसलिए नहीं ले जाना चाहते की में बाबूजी का बेटा नहीं हूँ मुझे माँ ने सब कुछ बता दिया है और माँ कभी झूठ नहीं बोलती है। यहाँ निर्देशक ने यह बतलाने की कोशिश की है की बच्चे के रूप में नायक कि सच्चाई बोलती है और सत्यप्रिय के रूप में सत्यकाम गया है। फिल्म की कहानी सहनायक संजीव कुमार के द्वारा कही गयी है जो एक अच्छा व्यक्ति तो है नायक से पूरी हमदर्दी रखता है लेकि कोरे कठोर आदर्शवाद की जगह मुलायम ईमानदारी से समझौते करते हुए ऊपर उठता जाता है और एक खुशहाल ज़िन्दगी जीता है।

हृषिकेश मुख़र्जी अपनी  विशिष्ट  निर्देशन शैली के कारण विख्यात रहे है जिसमे वह कहानी को बड़ी सजहता से बिना नाटकीयता के  चित्रपट पर उतारते हैं और यहाँ भी वह अपनी उसी परंपरा का निर्वाह करते हुए दीखते हैं। इस फिल्म के संवाद विशिष्ट है क्योंकि इसमें सत्य को कितनी सहजता से कहा जा सकता है यह दर्शाया गया है। इसी कारण संवाद लेखक राजिन्द्र सिंह वेदी को इस फिल्म से फिल्म फेयर का वर्षा के सर्वश्रेष्ठ संवाद का पुरूस्कार प्राप्त हुआ है। कुल मिलाकर बेहतरीन कहानी श्रेष्ठ पटकथा ,सहज अभिनय बेहतरीन संवाद व निर्देशन ने फिल्म को अविस्मरणीय बना दिया है व यह बॉलीवुड की सर्वकालिक महान क्लासिक फिल्मों में से एक है।

Guide – A journey to Spiritual Self!

Guide – A journey to Spiritual Self!

Saurabh Bharat
Peak in:

Saurabh Bharat

Dentist turned Radio Jockey turned Social Activist turned New York Film Academy Graduate. Passion for telling stories in all possible forms. Writer and Editor.
Saurabh Bharat
Peak in:

#69 #Scriptors100BestFilms #Guide

Is man’s hunger and rains interrelated? Does faith have power over god? Is there a god? Guide attempts to find the answers to these questions and on the way reveals the spiritual journey and self-discovery of Raju guide.

Based on R.K. Narayan’s timeless tale of love and spirituality, ‘Guide’ highlights the meaningfulness of following our heart. It may be impractical, even self destructive, but it gives us the sense of transcendent fulfillment.

This is a story of a tour-guide, Raju, and an unhappy and disgruntled wife of an egotistic sculptor, Rosie, who the destiny brings together. Raju instills the sense of worth in Rosie and they decide to make a world of their own. Guide explores how they experience the love and hate, passion and betrayal, fame and success, and eventually how Raju sets on the path of his own spiritual discovery.

Noting explains Goldie better than his own masterpiece ‘Guide’. Like his path breaking heroine, Goldie was a rebellious director, who refused to follow the set norms and made movies that seemed right in his heart. His movies were always ahead of their times and often set new trends. Many aspects, such as savoir-faire and perceptive screenplays, aptly meaningful filming of the beautiful songs, innovative camera techniques, and avant-garde methods of establishing flashbacks prove that he was the man who changed the contemporary cinema.

The film reflects his interpretation of the book through a simple philosophy – Studying thousands of books and feeling wise won’t help when the real life hits you. The life has the real knack to test your limits and endurance, and it’s the life that can bring out a total stranger out of you. The title ‘Guide’ itself refers to the life, which leads the two protagonists into the material world of passion, fame, and success, and then on to the paths of knowledge, truth, salvation, and love.

The film is so multilayered that every frame of the film is a subject of study. For instance, the song ‘Yahan Kaun Hai Tera?” glimpses through Raju’s past, his trials & tribulations, and his present state of mind. The song concludes on a stirring image of a wandering mystic covering static Raju with a saffron wrap. Saffron color alludes the spirit of sacrifice & forgo, indicating Raju has relinquished all worldly temptations & grievances and is headed toward a new momentous start. The same layered picturization was done for another song ‘Aaj Phir Jeene Ki Tamanna Hai’ where smashing a terracotta pot or jumping from one pillar to another symbolizes Rosie’s freedom.

The original creator of the story & characters, R.K. Narayan, definitely deserves to be credited with the film’s soul, but so is equally important the contributions of the director Vijay Anand who added multiple dimensions to these aspects, as well as the breakthrough performances by Dev Anand and Waheeda Rahman who brought these characters alive on the screen. In this film Dev isn’t Dev and Waheeda isn’t Waheeda, but they are Raju and Rosie, and they never fall short at involving the audience into their spiritual journey of love.

Guide was definitely ahead of its time and utterly bold. An affair between a tourist guide and a married woman, open talks of carnal pleasure, wife’s sexual demands from her husband are some things that can be considered taboo in India even today – the reason why Vijay Anand’s Valiance is highlighted for bringing all this on the silver screens 50 years ago.

However, sheer bravery isn’t the only element worth appreciating. It’s also the honesty of the romance, jealousy, and betrayal between Raju and Rosie that captivates our mind. Where an ordinary film would end, that’s exactly where Guide takes off. Destitute and hungry, Raju is mistaken as a god-man by the villagers, who see purity in him. Although trodden by self-doubt, Raju decides to play along, and unbeknownst to himself starts to discover the soul he never knew existed. When the drought falls upon the village, the same blind faith that made the villagers love Raju, also makes them expect a miracle from him and they coax him into fasting in order to bring the rain. Despite knowing it wouldn’t help, the now transformed Raju goes on a fast to keep their faith and hope alive, only to die on the same day when the rain befalls.

Toward the climax Raju starts talking to himself, which some may perceive as a phenomenon occurring due to hunger, but the director explores this in a very different light through a dialogue, in which Raju says, “Aisa lagta hai mano aaj sari ichhaein puri hongi. Lekin maza to dekho… aaj koi ichha hi nahi.” (It feels as if all desires are fulfilled. But how strange! I have no desire left today that needs to be fulfilled.”) Ultimately Raju does what he does best – he guides his soul to a place of spiritual ecstasy.

When the rain befalls, it’s doesn’t seem like rain, but seems like answers to all the questions he was asking all his life.

Sarfarosh – The Poetic Thriller

Sarfarosh – The Poetic Thriller

Baljeet Randhawa

Baljeet Randhawa

Writer from Bhopal. Theatre Director and Co- Founder of Dream Stage Theatre along with Scriptors. Shy Actor performs rarely.
Baljeet Randhawa

Many stories have been told about the sensitive subject of Indo-Pak relations, about intertwining boundaries of politics and religion, and that of religion and terrorism, but this flick is an outstanding cinema because of its intense characterization, powerful story-telling, and thoughtful writing.

Sarfarosh (1999) is an Indian action thriller-drama film, produced, written and directed by John Matthew Matthan and starred Naseeruddin Shah, Sonali Bendre and Aamir Khan.

After his brother being killed by terrorists, the medical student Ajay Rathod (Aamir Khan) decides to quit his studies and join Indian Police Services, in order to bring justice to his family and the nation. Ajay is a great admirer of Pakistan-based ghazal singer Gulfam Hassan (Naseeruddin Shah). On one of Hassan’s concerts, they meet for the first time and become great friends. His investigation takes him to Rajasthan, which uncovers certain disturbing truth to him. What unfolds next is a brilliantly written thriller.  Along with the powerful story-telling, what works for this thriller is the amazing characterization of the protagonist and antagonist. Also, it won’t make any sense if I talk about their performances in the films. Surely Naseeruddin Shah and Aamir Kahn are the best actors of Indian cinema.

Also during the concert he meets Seema (Sonali Bendre) – and their silent love story starts shaping. Surely, this is one beautiful part of this film – they way the love story is dealt. Not to mention, the most dramatic moments of the film were treated in the least drama way, to quote the scene where Ajay’s father put tilak on Ajay’s forehead.  It was done without any dialogue and a subtle background score.

Nida Fazli’s ghazal “Hoshwalon Ko Khabar Kya”, sung by Jagjit Singh is another gem in the film. Also, along with it there are other beautiful songs in the film, including “Zindagi Maut Na Ban Jaye” (written by Israr Ansari), “Jo Haal Dil Ka” (written by Sameer).

Sarfarosh won National Film Awards (Sept 2000), Best Popular Film Providing Wholesome Entertainment, Filmfare Awards for Best Movie (critics), Best Editing (Jethu Mandal), Best Screenplay (John Mathew Matthan), Best Dialogues (Pathik Vats & Hriday Lani.)

________________________________________________________

Ajay says, “Kis kaum (caste) ki baat kar rahe ho tum? Tumhari kaunsi kaum? Agar tum Musalmano ki baat kar rahe ho toh Pakistan se zyada Musalman yahaan Hindustan mein hai. Tumhari bandook se bheji hui goliyaan kisi  ka dharam puch kar usse nahi maarti. Tumhari goliyon se Musalman bhi maare jaate hai. Aur tumhari harkaton se woh badnaam hote hai…tum jaise log kisi ke sage nai hote! Tum jaise log dushman hote hai saari insaniyat ke!” This surely is the crux of the film in one line.

Monsoon Wedding – A wedding to remember !

Monsoon Wedding – A wedding to remember !

Yohaann Bhaargava
Follow me:

Yohaann Bhaargava

Head - Business Development at SCRIPTORS
Movie Buff. Yohaann is a film critic with Jagran Prakashan Limited. He has been associated with Print and TV media as a branding professional. Presently he is a screenwriter trying to bring in some good scripts up for Bollywood. At Scriptors he works as a writer and handles business development.
Yohaann Bhaargava
Follow me:

Latest posts by Yohaann Bhaargava (see all)

 

 

#66 #Scriptors100BestFilms #Monsoon_Wedding

Monsoon Wedding is not an art movie. It is full of art though.This Story of a typical Punjabi monsoon wedding amidst the colors of multiple human emotions wins your heart. ‘Wedding” often has the energy of a Bollywood spectacle, with its ingratiatingly incongruous shuffles of genres; we even get a handful of musical numbers, including a warm, offhanded song on the pleasures of married life performed by a group of women. But just like how the monsoon rains tampered with Delhi’s summer wedding, this movie also offers a lot of subtle surprises.

Lalit Verma (Naseeruddin Shah) is a wealthy yet quintessential father who is working towards a hitch free wedding of his daughter Aditi. Though familiar with Western ways, he seldom sided with them and was affirmed on the nuptials done properly and traditionally. Disillusioned with her long time relationship with Vikram — a man who is almost twice her age — Aditi (Vasundhara Das) suddenly agrees to submit to an arranged marriage with Hemant, an engineer from Houston. Yet as the ceremony nears, she gets cold feet and returns to see her former lover — even though it could spell disaster for everyone involved. Meanwhile, Aditi’s comely 17-year-old cousin Ayesha is coming to terms with her blossoming sexuality and has her sights set on Rahul, another relative who is a college student in Australia. Then there is Rai — also Aditi’s cousin — who has a shocking revelation to make. Film concentrates on the fraught preparations and the wedding itself, with Dubey(Vijay Raaz)’s eccentric wedding planner falling head over heels in love with the maid, to complicate matters.The resulting entertainment is just a little facile at times but the five interconnecting love stories, ending with a wedding amid the monsoon, are encompassed with considerable skill.

Performances in a movie like this are the key factor and Nair has managed to extract superlative performances from the entire cast. With a cast of established and ever reputable veterans to up-and-coming talented newcomers each and every performer leaves their mark. Naseerudin Shah as Lalit gives a performance, which is in fact, a textbook in acting itself. One can learn so much about acting by just watching Shah. His facials, dialogue delivery, body language, emotional scenes or comedy scenes all get etched into the viewers minds and Mr. Shah proves he is still a talent to reckon with, all he needs is a good role and script. It is clearly another landmark in his career.

Cinematographer Declan Quinn, who according to Meers is ‘a poet of light’, proves that his sobriquet is well-earned. His hand-held camera pans the Delhi landscape to capture the hustle and bustle of the streets with as much equanimity as it frames the riot of colour at the mehndi and sangeet celebrations.The unobtrusive lens captures the tender kiss that Ayesha and Rahul share; it finds P K Dubey spying on Alice who’s trying on the wedding ornaments and moves in, as Lalit breaks down and seeks comfort in Pimmi. Quinn’s craft makes a world of difference.

The ensemble cast puts in a spirited performance. Naseer is his brillant self. Shefali Shetty, Vijay Raaz (who’s perfectly cast) and Tilotama Shome are exceptional.And, thanks to a marvellous script, have well-etched characters. Lilette, Vasundhara and Rajat are pretty convincing. Alice and Dubey’s moments together are awkward and sweet, while Dubey’s interactions with his workers provide much of the film’s comic relief. These characters also serve as a contrast to the wealthier family that employs them. The way Aditi’s father handles the dark family secret shows the fierce loyalty that binds this family and drives its story. And, of course, romance and love bloom throughout, as vibrant and delicate as the marigolds that brighten the film’s landscape.The remaining make the grade.
Kudos also to scriptwriter Sabrina Dhawan, for weaving a deft tale, for staying true to herself and most importantly for imparting believability to her creations.Mira Nair’s conviction is commendable. She doesn’t shy away from calling a spade a spade. She treats her subject with admirable dexterity and the final product is not as disturbing as Salaam Bombay! And 30 days to shoot an entire film, with a cast of close to 62, I’m sure, is no mean task. Pity then that Mira’s fifth cinematic effort, Bollywood on her own terms , won’t find itself vying for an Academy Award.
The high point of this movie is its selective compiled music by Mychael Danna, Several tracks like ‘Kawa kawa’, ‘Aaj jaane ki zid na karo’ and  ‘Chunri chunri’ became a regular selection for weddings after this wedding movie.As a director Mira Nair, gives her finest piece of work to date and one of the best pieces of cinema I have seen from Bollywood in recent times. This is not your regular “masala” film and Mira has been very bold by tackling themes like sex and incest. She takes utmost care in directing every scene in the movie and handles it with the right amount of sensitivity needed in a movie of this sort. Though the sexual aspect of the film is surely made for an International audience, outside of the Indian family filmi lovers. Never the less, if I had to list the scenes to note in this movie I would be listing a lot of portions since as the movie is filled with classic scenes.Monsoon wedding , a tale of family, love, and culture in India is a joy to experience — from the moment the infectious Bollywood-esque music booms over the opening credits to the wildly romantic and satisfying conclusion. The film explores Indian culture and how characters both preserve that culture and shake it up. It also reveals contrasts: modern and traditional, young and old, rich and poor, East and West, appearance and reality.
This film was screened at the 2001 Toronto and Venice Film Festivals. At Venice, Monsoon Wedding won the prestigious Golden Lion award.
Filmistaan – For the love of Cinema!

Filmistaan – For the love of Cinema!

Siddharth Jain
Follow me:
Siddharth Jain
Follow me:

#65 #Scriptors100BestFilms #Filmistaan

“Cinema is universal. Beyond flags, borders and passports” – Alejandro González Iñárritu ( Academy Winner Director )

In our nation, if someone has to name two things that every Indian acclaims, that would be patriotism and CineMaa (cinema). And Filmistaan is a perfect blend of love for the nation and the movies shown by its protagonist Sunny. The movie is seemingly about a Bollywood fan for all the Bollywood fans, but a scrupulous attention will make you believe that the script has used CineMaa as a bridge to connect hearts of people who live across a long disputed India-Pakistan border. Bollywood has produced a lot other movies based on Indo-Pak border and relationship, but this one has its own uniqueness.

Sunny (Sharib Hashmi) who has only one dream in life-Bollywood, is one of the thousands of struggling actors in Mumbai. Unable to get a break and pay his bills, he takes a job of assistant director and went for a shoot in Rajasthan near India-Pakistan border. Mistaken for an American media personnel, he was kidnapped by a group of terrorist in the dark, and wakes up to find himself in Pakistan. After realizing they have no choice but to keep him hostage, terrorists house arrest him in a village at a local’s residence. Later Sunny met Aftaab (Inaamulhaq) who is the son of the house owner where he was held captive. Aftaab pirates Hindi film DVDs from India across border. Sharing common interest of love for Bollywood, soon they became close friends. Aftaab promises Sunny that he will help him to cross the border and go back to India.

The movie is loaded with many heart touching scenes which will make every Indian and Pakistani think that why we need borders across nations. In the second hour a scene where a local doctor, while dressing Sunny’s wound, tell him that he migrated to Pakistan after partition and still miss his home town Amritsar (India); thereon Sunny tells that his dead grandfather’s last wish was to visit his birthplace in Lahore (Pakistan). This scene can make many Indians and Pakistanis eyes wet. Sunny’s character who loves Bollywood is a very nice and humorous guy. In Pakistan, he makes everyone laugh and tries to keep them happy despite of the fact that he was a hostage, in a country that has animosity towards his own nation. One night when Aftaab played a Bollywood movie on TV which has missing soundtrack for a scene in the climax, Sunny recite all the dialogues for the villagers watching it. A very charming scene written by Nitin Kakkar to show how big a Bollywood buff he is.

Though every actor in this movie has done a wonderful job and made his character look so real, but Sharib Hashmi steals the show by his power pack performance. It won’t be wrong to say that the whole cast and crew together made this movie so wonderful. A story with perfect mix of patriotism and Bollywood by Nitin Kakkar, wonderful screenplay and dialogues by Nitin Kakkar and Sharib Hashmi, great job in editing by Sachindra Vats to keep it less than 2 hours and crisp, and capturing wonderful location of Rajasthan by Cinematographer Subhransu Das, all of them together made it a enjoyable and unforgettable film.

One part which this movie was missing is its final scene of Sunny and Aftaab crossing border. Did they ever make it? The answer to this question remains obscure. Though the voices of Jawahar Lal Nehru and Jinna in the backdrop of those scenes makes it a masterpiece.  Art or Cinema brings people together while politics separates them and creates borders. It was a “Love Story” to me – Love story between Cinema and its lovers and among cinema lovers.

Full of laughter and emotions this movie was nominated for 10 different categories in national and international film festival, and it bagged 5 awards for story, direction and feature film. A must watch not only for Bollywood fans but for all those people across border who always wonder, why borders!?