Mirzya

Movie is really good but people will take time to understand it. Each and every word and scene of this movie is beautiful but It's not for everyone . And you will have to think deeply about it to understand the work of gulzar Saab and mehra sir. Someday people are going to praise this movie. Many people complain about concept of different time Dimensions but same ending in the end . But it's correct, To have same ending, even I took a day to understand the reason behind it. The mixture of music is great as the lyrics joins everything with nature making it beautiful. Script is short but is to the point. Direction from my point of view is great. Acting is basically based on expressions which is good,. Visuals are outstanding. Story does not offer something new but actually is more realistic.

Some good random thoughts by R-O-Mehra, but fewer efforts were put to get them in shape. In an attempt to induce too much feel into the movie, the actual crux is lost. New actors Harshvardhan Kapoor and Saiyami Kher portrayed a good body language, despite having nothing much to showcase. Anjali Patil held her character well and was good in her little stint.

Storyline Rating: 2 Content: 3 Commercialization: 3 Entertainment: 2

Acting Rating: 2 Harshvardhan Kapoor: 2 Saiyami Kher: 2 Anjali Patil: 3 Anuj Choudhry: 3

Direction Rating: 2

Music Rating: 2

Cinematography: 4

Editing: 2

The most pretentious pile of turd splashed on the big screen since Roy and I am not exaggerating this one bit, mind you. This has pretentious written all over it. I would have given this movie 0 stars but it is not possible in this rating system and the only way I can justify the compulsory 1 star is the opening sequence, but then it is done over and over and over and over so many bloody times that I wish I wouldn't have thought that that was a good scene.

Well, everybody knows the story of Mirza-Sahiban but truly speaking I didn't and before getting into the theater I read about it a bit or else the flashback/lore sequence would have seemed even more vague. The people other than Anil Kapoor's son and the niece of Tanvi Azmi look from a foreign lineage for some reason. The whole movie is interjected with Daler Mehndi shrieking Mirzya and those irritating and even more pretentious and vague dance sequences. If anybody tries to explain it, I warn you, you are going to be slapped because THAT didn't have any significance at all! The cinematography looked like a recycled version of Bhaag Milkha Bhaag.

Now to Anil Kapoor's son and Tanvi Azmi's niece. You might be wondering why I am not taking their names because they were taken due to above mentioned Bollywood background that they have inherited and anybody saying otherwise is lying through their teeth and that goes for Rakesh Omprakash Mehra. I still remember that my 1st review on IMDb was of Bhaag Milkha Bhaag and I am a huge fan of RDB and even Delhi 6 had it's moments but this has diminished my respect for you. The reason that in an interview to T2 you clearly mentioned that the hero and heroine were taken solely on the basis of their acting prowess and they were treated just like any other actor. After watching the movie it is evident that you had Anil Kapoor breathing down your neck.

For moviegoers this is my true advice. I know many of you are a fan of Rakesh Omprakash Mehra or Gulzar and the girls might have a fondness for Junior Anil Kapoor but it isn't worth spending your money on. SO avoid this movie like the plague.

Let me try to tell what went wrong technically without revealing the story..

Firstly the anecdotes or the screenplay was pretty messed up and confusing, its like when you show the protagonist's entry when not expected and then moved on to the slow pace back drop story..

The music was fusion with folk songs, but ruined it with the over electronic experimental beats here and there which was totally unnecessary. The chorus and singer's voice was over used during the screenplay which made it quite monotonous and tamed the interest in the movie.. overall wrong choice of music directors.

Screenplay was dull and dark, which didn't quite engage as an audience at all. could have been way better, brighter, with engaging side actors and alive. The cast of childhood actors was wrong, where the girl looks bigger, aged and stronger than the boy, whereas she should've been an innocent looking little girl to make the story more convincing that he fell for an innocent girl..

There were artistic scenes here and there with slow motion which felt like an advertisement on television. The story was good, but the execution was bad, the direction, cinematography, screenplay, and music.. all were messed up and didn't accompany each other. Whereas the acting of the lead character in adulthood was good but proved of least use. Hence, a great opportunity was missed.

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.