UK media watches 'Parineeta'

By Our Correspondent ©2005 Bollyvista.com






A Still from 'Parineeta'
Several members of the print media in the UK are said to have watched the forthcoming 'Parineeta' at a special show held last week in London and the response from them was overwhelming.

Over and above the white publications, the ethnic media was all praise for the magnum opus, which, they said, was "colourful, good-looking and effectively directed."

http://specials.rediff.com/movies/2005/jun/07dia1.htm




I did not see her in Previews!

First day, first show for me. I've been waiting for this one for awhile.

http://www.bbc.co.uk/films/2005/06/08/p ... view.shtml

Reviewer's Rating User Rating

Parineeta (The Married Woman) (2005)
Reviewed by Jaspreet Pandohar
Updated 07 June 2005 Contains one use of strong language


Although Sarat Chandra Chatterjee wrote Parineeta in 1914, the movie adaptation of his classic novel is a period drama set in 60s Calcutta. As vibrant and lively as the Indian city and era, director Pradeep Sarkar's film revolves around a love triangle that springs up between childhood friends turned lovers Shekhar (Saif Ali Khan) and Lolita (Vidya Balan), and suave older man Girish (Sanjay Dutt). Full of integrity and old world charm, this is one Bollywood romance that doesn't over indulge in melodrama.

While poles apart in status, orphan Lolita (Balan) and rich kid Shehkar (Khan) help each other realise their dreams: his to be a successful musician and hers to repay her uncle's kindness for adopting her. But in 60s Bengali society a blatant show of affection outside of marriage is not the done thing, so it's left to the audience to witness the pair's burning desire and await a spanner in the works. Enter Girish (Sanjay Dutt), a businessman whose arrival from London adds some spice to the plot.

"SPLENDID PERFORMANCES"

From the exquisite sets and costumes to the wonderful music, it's obvious Sarkar and his team have paid great attention to detail in order to recreate the period feel. Handling the subject matter with sensitivity and restraint, Sarkar never lets any of the leads lapse into histrionics and coaxes splendid performances from Khan, Dutt and newcomer Balan. The result is a fine example of how Bollywood is capable of producing mature love stories without sacrificing the entertainment factor.

Music: Shantanu Moitra

In Hindi with English subtitles.

Times Out London gives 'Parineeta' a thumbs up!

By Our Correspondent ©2005 Bollyvista.com






A still from 'Parineeta'
Great reviews for 'Parineeta' have already started coming in. TIME OUT LONDON has reviewed the film (releasing on Friday) thus: "PARINEETA is an engaging film and a visual treat. It is devoid of the usual excesses of the formula with a focus on characterization, mood, and detail to convey fragile relationships."

Rediff review:

Parineeta is a must watch

Dinesh Raheja | June 10, 2005 10:22 IST


Parineeta is a beautiful story, beautifully told. It approximates what most of us expect, and increasingly yearn for in vain, in our cinematic experience.

When a film has a literary classic as its source material, the basics, at least, are in place. The filmmaker is assured of a subject that has resonated with legions of audiences. But, at the same time, he is faced with the cinematic challenge of distilling emotions expressed in fine print onto the screen.

Pradeep Sarkar manages to do that. And how! He has taken the liberty of shifting the setting of his directorial debut, Parineeta, from novelist Saratchandra Chatterjee's Kolkata of 1913 to the Kolkata of the 1960s (which may make literary critics and purists balk). But he lives up to the challenge of unfurling the pages of the classic as vivid visuals on screen, without blunting the emotional subtleties of its story and characters.

Happily, Parineeta emerges as an era-evoking love story which captures the eye -- and the mind -- through three complex characters for who, most importantly, we come to care deeply for.

Saratchandra seemed to have an affinity for heroes in the Devdas mould. Shekhar (Saif), like Devdas, is an intense lover, who is also father-dominated, hot-headed, pampered, possessive and contentious. When he can't have his way, he loses sight of all reason.

But he is also palpably in love with Lolita. And this love ricochets between them even when Shekhar is being carried away by a flood of recriminatory emotions.

Lolita (Vidya Balan) is an orphan and Shekhar's childhood friend cum neighbour. Like Paro in Devdas, she walks the tightrope between egotism and self-respect. She is a giver but is not servile. She is the parineeta (married woman) who wants her husband to claim her, she won't stake her right as his wife.

Girish (Sanjay Dutt), a big-hearted London-returned bachelor, like Shekhar, loves Lolita. But unlike Shekhar, he is calm and practical.

The lives of these three protagonists crisscross, time and again, because of the machinations of Shekhar's covetous father Navin Rai. Desirous of moving up the social hierarchy, he is keen to usurp Lolita's uncle's property and build a magnificent hotel over it.

But Girish bails out Lolita's uncle. Infuriated at the snub, Navin Rai engineers a rift between Shekhar and Lolita, whom he dismisses as a 'whore.' His trump card -- Girish's unspoken love for Lolita. A jealous Shekhar abandons his beloved music and Lolita, and agrees to a matrimony with Gayatri Tantia (Dia Mirza), the daughter of his father's business associate.

The complexities of the characters are elicited in simple but interesting ways. Shekhar's irritation at Lolita for missing his recording is not mitigated when he is reminded that he has not even informed her about it. The rivalry between Shekhar and Girish peeks through when Shekhar intercepts a Luchi-serving Girish on the pretext that they are cold and orders a fresh batch of hot Luchis.

The two love stories destined to end on diametrically different notes are threaded with tenderness reminiscent of its times, making for a sprightly exposition to the drama.

While a black-out, a burnt cake, a game of cards, a planchette bluff and a puja dance serve as the mosaic for Lolita and Girish's one-sided love story, Shekhar's bedroom and his cupboard (Lolita's personal ATM) forms the setting for Lolita and Shekhar's tumultuous relationship.

Interestingly, while a great deal of money and effort is lavished on recreating Kolkata of the 1960s, the dialogues are sparse, albeit spicy. The brisk pacing leaves no room for ennui but I missed some quieter moments which could have enhanced the appeal of the film.

The gentle flow of this film is rudely interrupted by the climax, in which Shekhar physically breaks the wall dividing the houses of the two families. If it was to serve as a metaphor for his breaking the barriers within the two neighbouring families, it is too literal and overstated.

Vidya Balan could have walked through her role without the aid of dialogue -- she has speaking eyes. The girl has range: her eyes flare up like headlights at night when she is angry and are suffused with indulgent softness when she is interacting with Saif. She channels Lolita's reedy resilience.

Saif's willingness to undermine his heroism -- he is palpably jealous and insanely insecure, a picture of stubborn rage -- elevates his performance. It's the best in his career so far.

In a smaller but nonetheless pivotal role, Sanjay Dutt displays quiet authority. Rekha, dressed in a figure-hugging maroon sari and winsome curlicues, lives the cameo of a seasoned club singer who (s)pouts philosophy.

The songs nurture the story rather than encumber its telling. For instance, Dhinak Dhin Dha, a robust wedding geet, draws our attention to the unrest within Saif's heart. Sonu Nigam's cry from the heart, Soona Mann Ka Aangan and his breezy Piyu Bole showcase composer Shanatanu Moitra's musical talent, while Raat Hamari Toh is a triumph for lyricist Swananad.

I find many a recent Hindi film difficult to sit through even once, and rarely see any film twice. But I am willing to watch Parineeta again, and, what's more, pay for my ticket too.

But the music isn't enough of a chartbuster for Adarsh

Parineeta

By Taran Adarsh, June 10th, 2005 - 1630 hrs IST


When the lights go off in a movie hall, all a moviegoer looks forward to is a captivating story to unfold on screen. And if the mesmerizing story has the backing of an efficient narrator, it only proves to be an icing on the cake.

Besides, revisiting a classic that has been attempted on celluloid earlier is tricky business. But the 2005 adaptation of this early 20th century classic is interesting. In parts, not in entirety.

PARINEETA may not be that perfect film -- it has its share of flaws -- but there's no denying that the film has moments that keep you hooked most of the times.

Debutante director Pradeep Sarkar seems to have done his homework pretty well. The marriage of form [technique] with substance [script] is worth noting. But how one wishes Sarkar and co-writer Vidhu Vinod Chopra would've given a solid culmination to this simple, yet complicated tale of emotional relationships.

Had Sarkar worked doubly hard, PARINEETA could've proved to be a masterpiece. The culmination to the story [climax] is what actually proves a spoiler of sorts. But, overall, PARINEETA is still a cut above the average.

Kolkata 1962. Lolita [Vidya Balan], orphaned at an early age, is sent to live with her uncle's family, where destiny introduces her to Shekhar [Saif Ali Khan]. Shekhar, a budding musician, is the son of an affluent businessman [Sabyasachi Chakraborty].

Together through childhood and adolescence, Shekhar and Lolita share joys and sorrows, fond memories and bittersweet experiences… and unknown to them, a relationship of deep friendship and trust takes place. It is an unspoken right they hold over each other that metamorphoses into love so intense, they do not even see it coming.

It takes the arrival of an outsider, Girish [Sanjay Dutt], for them to discover their true feelings for each other. The chemistry between Lolita and Shekhar sizzles and sparkles until it explodes. But fate has something else in store for them.

Greed, deception and malicious intents are waiting to plague Lolita and Shekhar's deep and innocent love. Events twists and turn beyond their control, spin around them in a maze of misunderstandings and exploding tempers, till even their love cannot stop them from being torn apart.

Can true love conquer the insurmountable obstacles or will it succumb to them? Will Lolita and Shekhar be swept apart by these tumultuous events?

Based on Sarat Chandra Chattopadhyay's classic literary work, PARINEETA transports you to an era that the current generation is alien to. The look of the 1960s, the atmosphere, the ambience… the debutante director makes efforts to recreate the era with flourish. Of course, the viewer had witnessed a similar ambience in Sanjay Leela Bhansali's DEVDAS, but PARINEETA is treated differently.

In fact, comparisons with DEVDAS are inevitable. The two childhood lovers facing parental opposition [by the arrogant father] is one common factor that comes to your mind instantaneously.

Back to PARINEETA. The simple story of two childhood lovers gradually falling in love has been handled with simplicity and conviction. The sequences between Saif and Vidya as also those between Sanjay and Vidya are the high points of this film. The moments are spellbinding, especially portions that depict a jealous Saif suspecting Vidya of having an affair with Sanju.

The sole problem with the first half is that the narrative moves at a sluggish pace throughout. The goings-on unfold at such a leisurely pace and the treatment is so class-appealing that PARINEETA automatically moves into the bracket of films that the elite would fathom, more than the hoi polloi.

The post-interval portions are riveting in parts. The second half has some attention-grabbing moments, like the sequences when the rift between Saif and Vidya widens over the loan that Vidya's uncle [Achyut Potdar] had taken from Saif's father. But the culmination to the story -- the finale -- is a terrible letdown. It's very, very clichéd. The film definitely deserved a better end!

Pradeep Sarkar is a proficient storyteller, but the execution of the subject is such, it would appeal to the upper strata primarily, who have a taste for refined cinema. The pacing is slow and the only solution one sees is axing a song or two to make the story reach the finale faster.

But Pradeep Sarkar is a director to watch! It's rare for a first-timer to display such sensitivity and extract life-like performances, especially from a debutante [Vidya Balan]. Even otherwise, the effort of replicating Kolkata of the 1960s is remarkable.

Shantanu Moitra's music is a letdown. Ideally, a film like this -- a love story specifically -- should've been embellished with a lilting, memorable score. But in this case, 'Piyu Bole' is the only track that really stands out. But, frankly, it isn't of the chartbuster variety. The execution of the Rekha song is brilliant.

Cinematographer [N. Nataraja Subramanian] is first-rate. The sepia tone gives the film a nostalgic feel, so essential for a period film. The production design [Keshto Mondal, Tanushree Sarkar, Pradeep Sarkar] compliments the cinematography beautifully.

Saif Ali Khan takes colossal strides as an actor. The actor handles a complex role with dexterity and enacts his part with flourish. Sanjay Dutt is efficient in a smaller role comparatively, although the fire that one would've associated with the character in the climax is missing.

It's Vidya Balan who gives PARINEETA that extra sheen. A natural [not cosmetic] beauty, Vidya takes to the role like a fish takes to water and delivers, what can be rightly called, the most striking performance by a debutante this year.

Dia Mirza doesn't really get much scope. Nevertheless, she makes her presence felt. Ditto for Raima Sen. Sabyasachi Chakraborty, as the scheming father, is superb. In fact, his performance is one of the strong points of this enterprise.

On the whole, PARINEETA is a well made film that has its share of highs and lows. At the box-office, the film would appeal more to the elite that frequent the multiplexes, but at the hardcore Hindi movie belt, its business will range from average to downwards. The multiplexes of metros should fetch the best returns!

Rating:- * * ½.

Moran as expected!!!

This film do not need any of those crooks recomendations imho!

Who call Taal a classic and Yaadein a visual delight!!

It should be watched in good faith!

Parineeta is a must watch

Dinesh Raheja | June 10, 2005 10:22 IST


Parineeta is a beautiful story, beautifully told. It approximates what most of us expect, and increasingly yearn for in vain, in our cinematic experience.

When a film has a literary classic as its source material, the basics, at least, are in place. The filmmaker is assured of a subject that has resonated with legions of audiences. But, at the same time, he is faced with the cinematic challenge of distilling emotions expressed in fine print onto the screen.

Pradeep Sarkar manages to do that. And how! He has taken the liberty of shifting the setting of his directorial debut, Parineeta, from novelist Saratchandra Chatterjee's Kolkata of 1913 to the Kolkata of the 1960s (which may make literary critics and purists balk). But he lives up to the challenge of unfurling the pages of the classic as vivid visuals on screen, without blunting the emotional subtleties of its story and characters.



Happily, Parineeta emerges as an era-evoking love story which captures the eye -- and the mind -- through three complex characters for who, most importantly, we come to care deeply for.



Saratchandra seemed to have an affinity for heroes in the Devdas mould. Shekhar (Saif), like Devdas, is an intense lover, who is also father-dominated, hot-headed, pampered, possessive and contentious. When he can't have his way, he loses sight of all reason.

But he is also palpably in love with Lolita. And this love ricochets between them even when Shekhar is being carried away by a flood of recriminatory emotions.

Lolita (Vidya Balan) is an orphan and Shekhar's childhood friend cum neighbour. Like Paro in Devdas, she walks the tightrope between egotism and self-respect. She is a giver but is not servile. She is the parineeta (married woman) who wants her husband to claim her, she won't stake her right as his wife.

Girish (Sanjay Dutt), a big-hearted London-returned bachelor, like Shekhar, loves Lolita. But unlike Shekhar, he is calm and practical.

The lives of these three protagonists crisscross, time and again, because of the machinations of Shekhar's covetous father Navin Rai. Desirous of moving up the social hierarchy, he is keen to usurp Lolita's uncle's property and build a magnificent hotel over it.

But Girish bails out Lolita's uncle. Infuriated at the snub, Navin Rai engineers a rift between Shekhar and Lolita, whom he dismisses as a 'whore.' His trump card -- Girish's unspoken love for Lolita. A jealous Shekhar abandons his beloved music and Lolita, and agrees to a matrimony with Gayatri Tantia (Dia Mirza), the daughter of his father's business associate.

The complexities of the characters are elicited in simple but interesting ways. Shekhar's irritation at Lolita for missing his recording is not mitigated when he is reminded that he has not even informed her about it. The rivalry between Shekhar and Girish peeks through when Shekhar intercepts a Luchi-serving Girish on the pretext that they are cold and orders a fresh batch of hot Luchis.

The two love stories destined to end on diametrically different notes are threaded with tenderness reminiscent of its times, making for a sprightly exposition to the drama.

While a black-out, a burnt cake, a game of cards, a planchette bluff and a puja dance serve as the mosaic for Lolita and Girish's one-sided love story, Shekhar's bedroom and his cupboard (Lolita's personal ATM) forms the setting for Lolita and Shekhar's tumultuous relationship.

Interestingly, while a great deal of money and effort is lavished on recreating Kolkata of the 1960s, the dialogues are sparse, albeit spicy. The brisk pacing leaves no room for ennui but I missed some quieter moments which could have enhanced the appeal of the film.

The gentle flow of this film is rudely interrupted by the climax, in which Shekhar physically breaks the wall dividing the houses of the two families. If it was to serve as a metaphor for his breaking the barriers within the two neighbouring families, it is too literal and overstated.

Vidya Balan could have walked through her role without the aid of dialogue -- she has speaking eyes. The girl has range: her eyes flare up like headlights at night when she is angry and are suffused with indulgent softness when she is interacting with Saif. She channels Lolita's reedy resilience.

Saif's willingness to undermine his heroism -- he is palpably jealous and insanely insecure, a picture of stubborn rage -- elevates his performance. It's the best in his career so far.

In a smaller but nonetheless pivotal role, Sanjay Dutt displays quiet authority. Rekha, dressed in a figure-hugging maroon sari and winsome curlicues, lives the cameo of a seasoned club singer who (s)pouts philosophy.

The songs nurture the story rather than encumber its telling. For instance, Dhinak Dhin Dha, a robust wedding geet, draws our attention to the unrest within Saif's heart. Sonu Nigam's cry from the heart, Soona Mann Ka Aangan and his breezy Piyu Bole showcase composer Shanatanu Moitra's musical talent, while Raat Hamari Toh is a triumph for lyricist Swananad.

I find many a recent Hindi film difficult to sit through even once, and rarely see any film twice. But I am willing to watch Parineeta again, and, what's more, pay for my ticket too.





I think we have 3 winner performances here!! Best actor, supporting actor and debut!! Good luck VVC!

Well, now lets see how other pundits can shower us with numbers from UK, US and good old, INDIA , declaring it a FLOP by numbers!

It is UNFORTUNATE though

Wait for MPKK another DD/SALLU trash coming soon to pundits way!

Parineeta
Enchanting!

By Prema K. ©2005 Bollyvista.com


Continued: Next Page >>



Credits
Producer/s: Vidhu Vinod Chopra
Director: Pradeep Sarkar
Cast: Saif Ali Khan, Sanjay Dutt, Vidya Balan, Raima Sen, Dia Mirza and Rekha
Music: Shantanu Moitra
Lyrics: Swanand Kirkire

'Parineeta' adapted from Saratchandra Chatterjee's classic novel of the same name is truly a labour of love. The love and passion that has gone into its making is clearly visible. It is a love story set in the 60s and beautifully told. Director Pradip Sarkar couldn't have thought of a more suitable cast. It's just perfect!

Saif Ali Khan is exactly like the character, Shekhar. He is a rich man's son and lives a comfortable life. He pursues his love for music. He plays the piano. Girish (Sanjay Dutt) is a hero who has made it on his own after going through difficult patches in his life. So true to Dutt's life. Vidya Balan (Lolita) is the typical Indian woman - breathtakingly beautiful and with lot of passion, love, empathy, and strength.

'Parineeta' is Shekhar and Lolita's love story. They are childhood friends and have been very close ever since Lolita comes to live at her maternal uncle's house (Shekhar's neighbours) when she is orphaned. She has a cousin, Koyal (Raima Sen). The two sisters develop a deep bond and so do Shekhar and Lolita. She means everything to him and does everything that a wife or girlfriend would, right from drawing the curtains of his room in the morning to finding the right shirt for him.


1 | 2 | 3 Next Page

http://www.bollyvista.com/article/a/29/5024

*****Well deserved 5 stars/5

The film is full of great moments and every scene is well thought out and brilliantly framed. The performances of the main cast is superb especially Saif and Vidya. Vidya is a real discovery and an asset to Bollywood. She is ethereal looking and looks like a complete woman. A real breath of fresh air after those semi clad and near nude women one sees on screen these days.

Another interesting character is Koyal. Raima Sen seems to be making a place for herself slow and steady. Cinematography is first rate. So is the music. A film definitely worth viewing. It's a film that will really make Indian cinema proud.

***** (FIVE STARS)

Movie Review : Parineeta - Representing true cinematic glory

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Producer:Vidhu Vinod Chopra
Director:Pradeep Sarkar
Cast:Saif Ali Khan, Vidya Balan, Sanjay Dutt, Raima Sen, Diya Mirza, Sabyasachi Chakravarthy, Biplab Chatterjee, Achyut Potdar, Surinder Kaur
Music:Shantanu Moitra


Sarat Chandra was a great storyteller, we know that. But we didn’t know that Pradeep Sarkar is an enormous narrator too. ‘Parineeta’ is Sarat Chandra’s story unfolded in a beautiful way in celluloid by Pradeep Sarkar, representing true cinematic glory.

‘Parineeta’ is based on Sarat Chandra Chattopadhyaya’s classic love story written in 1914. To transform a novel into screen is a phenomenal task. The team of ‘Parineeta’ has bore the pain to unveil the emotions and petrifactions just as they appear in literature. Set in the backdrop of 1960, in the milieu of Kolkata, the film is a factual. Pradeep Sarkar has brought the era of 1914 to Kolkata’s 1960 and has presented it in 2005. And what a presentation it is!

‘Parineeta’ is a visual appeal. The film unfurls page by page just as the novel would, and transcend the imagination to realism through the beads of character who are life like in all aspect. The film yarns the emotions and intricacies, defying the medium, into a story that one would like to go through again and again. The universal feeling of love surpasses time and boundaries and touches one’s heart with subtlety. Pradeep Sarkar with his three lead characters, tells it all.


Shekhar (Saif) is a blue blood, who acts according to his father’s wishes. He is short fused, cosseted, possessive, touchy. He is also a passionate lover. He loves his orphan neighbor Lolita to extremity. His feeling towards her is transparent and he never leaves her side, even when he is blown away by emotions, criminating her in his heart.

Lolita (Vidya Balan) and Shekhar have grown up together and have also fallen in love together. Lolita epitomizes the sentiments and gravity that prevails in every woman’s heart. She is egoistic and carries esteem about herself. For the likes, she can sacrifice but not submit herself. A true Parineeta (married woman).

Girish (Sanjay Dutt) is a London-returned eligible bachelor who gets captivated by the charms of Lolita. He is a mature self and has a balanced head on his shoulders.

The three main characters get interweaved when the story brings them in a crossroad. Navin Rai is the insatiable father of Shekhar who wants to take over a piece of land belonging to Lolita’s uncle, to build a magnificent hotel. Lolita’s uncle falls captive of his recklessness, but the prudence of Girish helps him out. Navin Rai, to revenge his anger, creates a fissure between Shekhar and Lolita. Terming Lolita as frail, he seeds questions in the heart of Shekhar. Shekhar thinking that Lolita is attached to Girish, parts his way from her life. Shekhar is left bruised and jealous. Taking hold of the situation, his father convinces him to marry Gayatri Tantia (Dia Mirza), the daughter of his associate. Shekhar’s frustration, his enmity with Girish, the misunderstandings and misjudgments move the story further.


The characters move in motion on the strength of their emotion educing interest. There are two love stories interweaved in a narration and although having two different dimensions, has been merged well. There is a platonic love story of Girish and a chaotic affair of Lolita and Shekhar. The setting is lavish, and the picturesque very original, giving a true glimpse of Kolkata of the era. The money and efforts that has been spent can be seen onscreen. The dialogues are light but fiery. The film moves in a fluid tone throughout. Only the climax submerges into something different that is again ecstatic.

Vidya Balan though is a first timer, seems ten films old in regard of her skills. Her expressions are sharp and clear. She is definitely a perfect Lolita. Saif divulges into something that he has never done before, and does it with aplomb. He has given creditable performance in belting out the emotions that speaks louder than words. Sanjay Dutt proves his mettle again. The club song of Rekha is not worth a miss.

‘Parineeta’ is a classic and the film is no less than it!


© Copyright 2005 by MusicIndiaOnLine.com

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that fool gave music album 4 out of 5 I belive and now he hates it! what kind of degree do you really need to be a critiq

I'll have master critics on forum zulm to address this question lol.

I am a just humble viewer with bi scope only

There are too many parineeta thread ( mods can u merge ?) . Here is a counterview to the movie

http://us.rediff.com/movies/2005/jun/10par.htm



Counterview: Parineeta, just a music video

Sumit Bhattacharya | June 10, 2005 18:31 IST

A still from ParineetaFirst, the baggage. The only Sarat Chandra Chatterjee works I have read are Ramer Sumoti -- about how a boy who is a complete nuisance becomes responsible, a story my mother insisted I read -- and Mahesh, about a farmer and his cow, which I read on my own in class III and cried buckets over.


What struck me was the starkness of the stories, the simplicity of it all -- something that debutant director Pradeep Sarkar's 'adaptation' of Parineeta steamrolls with its shafts of light and a Kolkata permanently bathed in a Ray Ban afterglow.

I guess a period film is Bollywood's way of justifying the opulence and the melodrama that are to it what water is to fish.

So, as Amitabh Bachchan's baritone booms about Calcutta -- as it was called then -- of the late 1960s, you catch your first and last glimpse of the city. You are suddenly transported to a very un-Bengali shaadi sangeet, arguably the most irritating song you will hear in a while.


And you realise this is just a masala film, despite the attempts at Satyajit Ray's Charulata-esque woman on the swing shots and Tagore's song Fule Fule Dhole Dhole rearranged to saccharine sweetness.

Shekhar (Saif) is getting married to a rich businessman's daughter Gayatri Tantia (Dia Mirza). But his heart is away, with Lolita (Vidya Balan) -- his neighbour and childhood love.

The rest of the movie is a flashback music video about Shekhar and Lolita's unspoken love and his father (Bengali actor Sabyasachi Chakraborty) Navin Rai's greed, which tears the lovers apart.

Navin wants Lolita's uncle Gurucharan's mansion. Gurucharan, whose fortunes are on the downturn, has mortgaged the house to Navin. The mortgage is eventually paid by Lolita's neighbour's brother Girish (Sanjay Dutt), who has fallen for Lolita.

Plotted misunderstandings follow and Shekhar, convinced Lolita has sold herself to Girish, agrees to marry his father's business partner's daughter. There is a climax that is even more exaggerated and loud than the movie overall -- quite an achievement.


A still from ParineetaThere is careful detailing -- windowpanes that remind you of old bonedi (traditionally rich) Calcutta mansions -- but it is all to make every frame too picturesque. Saif Ali Khan sports a guitar model that was not invented in the period the film is set it. Everybody wears designer clothes. Every shot is eye candy. Hallways are lit with candles even though there is electricity. The grand piano props up the mortal remains of grandeur as windswept curtains try to coax unrest.

Everybody suitably overacts. Vidya Balan coos, Raima Sen (who plays Koel, Lolita's sister) plays the precocious saheli and Sanjay Dutt shows us what Munnabhai would do in designer punjabis (that's Bong for kurta).

But despite the songs, the Austin cars and the Rekha nightclub cameo, you do not get a sense of the place. The only times I felt a pang of nostalgia for a city I yearn to go back to was when the dhakis played to a dhunuchi-dancing Sanjay Dutt and when the Siliguri-Darjeeling toy train meandered up hills that were my doors of perception.

Nor do you feel for the characters. Only Sabyasachi -- a fine actor in his own right -- Saif, and some Bengali actors, who put in nice cameos, impress. The cool dude from Dil Chahta Hai is convincing as the quintessential Sarat Chandra man -- weak (remember a man who drunk himself to death for a girl?).

The music, which is the film's crutch, is catchy. But there is no sound of LP scratches, something that could have evoked an era gone by much more than Yanni-esque piano trills. I felt there were too many songs.

All great art hides technique. Be it a Charlie Parker solo or a Picasso painting. It does something to you, changes you from within, somehow. Parineeta leaves you cold and only appreciative of the forced beauty and technique. There are fleeting moments -- like when Shekhar comes home from office to order his servant to take his coat, a mirror image of his Merchant of Venice father, symbolising he has killed his artist self -- but otherwise there is no epiphany. No take-home.

Parineeta is just a well-made music video. It might become a very big hit -- I have seldom seen so many people on a first day first show -- but it fails to be real, to move, to touch.



I will probably rent it when it gets released on a DVD