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PostPosted: Fri Jun 10, 2005 6:46 pm 
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Another one to watch when the ticket price comes down, that's the Indian way :D


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PostPosted: Fri Jun 10, 2005 9:54 pm 
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arsh wrote:
I think we have 3 winner performances here!! Best actor, supporting actor and debut!! Good luck VVC!
Don't forget 'Best Film', 'Best Director', 'Best Music', 'Best Lyrics', 'Best Playback - Male', 'Best Playback - Female' and I am sure a few other technical categories too. But alas when it comes to most Indian awards, specially Filmfare awards, it will not be so. Because as we all know those categories are reserved for the 'Chopra & Johar' camp only. Although this year it is going to be really difficult justifying the denial of these awards to Parineeta, simply because the film is soooo....... much better than anything the 'Chopra & Johar' camp or for that matter Bollywood have made or could possibly put out this year.

dvdisoil wrote:
There are too many parineeta thread ( mods can u merge ?)
How about we use this thread to discuss the various reviews from critics and online sites, while we use the other thread here --> http://www.zulm.net/forums/viewtopic.php?t=7743 for reviews and opinions of Zulmis.

dvdisoil wrote:
Here is a counterview to the movie
As for this counterview, it is quite apparent that Mr. Sumit Bhattacharya has a very prejudiced agenda in reviewing the film. He seems to be looking to find flaws with the film rather than judge the film for what it really is. The following quote from his review makes his intentions quite apparent "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." What in the world is this gentleman talking about? Why would you have LP scratch sounds when the character is singing the song live in the film? It's not like the songs in the film were playing on a record player. As for Mr. Bhattacharya's views about how Calcutta of the 1960's is portrayed, "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.", does he expect the director to forget the narration of his story to accomodate scenes that might have depicted more of the Calcutta that Mr. Bhattacharya is nostalgic of? Mr. Bhattacharya like another "great" critic, Mr. Adarsh does not even understand the very basics of a good review, which is not to give away the plot of the film or other critical important turning points of the story. I for one would avoid any more reviews from Mr. Bhattacharya, just as I do those of Mr. Adarsh.

dvdisoil wrote:
I will probably rent it when it gets released on a DVD
I think you will be doing yourself a great disservice in addition to that of the cause of good hindi cinema. I am sure even the best of films have gotten some negative reviews from some so called critics. Sholay, one of the undisputed great hindi films, got some really bad reviews when it was first released. It is only upon the film's great success that a lot of the critics backtracked on their original opinions. More recently, 'Lagaan' too was at the receiving end of some such critics. As for the opinions of the likes of Mr. Adarsh, the less said the better. The local paanwaala probably has a better idea of what constitutes good cinema than the likes of Mr. Adarsh.

DragunR2 wrote:
Another one to watch when the ticket price comes down, that's the Indian way :D
If you love watching a good wholesome entertaining film, then I would suggest not waiting but rather watching the film ASAP.


Last edited by Sanjay on Fri Jun 10, 2005 10:44 pm, edited 2 times in total.

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PostPosted: Fri Jun 10, 2005 10:31 pm 
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Sanjay, don't worry about it much. Practically every other critic has praised "Parineeta" to a great extent.

Rediff (the Raheja review), Times Of India, A boatload of Indiatimes reviews, Teenstation, BBC, Time Out London, Musicindiaonline, Bollyvista (perfect five star review), Subhash K. Jha are some of the reviewers that give "Parineeta" great acclaim. Check out the reviews if you get a chance.

BTW Sanjay, how were the performances by Saif and Vidya in your opinion? Would love to know. I'm planning to see this tomorrow. I also heard "Yagna" trailer was out with the release of "Parineeta". Have you seen it?


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PostPosted: Fri Jun 10, 2005 10:54 pm 
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hal wrote:
BTW Sanjay, how were the performances by Saif and Vidya in your opinion? Would love to know. I'm planning to see this tomorrow.
I think both Saif and Vidya are absolutely brilliant in the film and I really cannot imagine 'Lolita' being played as effectively by any 'established' actress. I think the decision to go with a fresh face was the right one. In fact, I very strongly believe that so many films are spoilt simply by casting 'established' actors/actresses in certain roles. Even the supporting cast is mostly fresh and new to the hindi film scene which adds to the movie.

hal wrote:
I also heard "Yagna" trailer was out with the release of "Parineeta". Have you seen it?
There was no trailer of 'Yagna' attached to 'Parineeta' or atleast it was not shown at the theater I saw the film at, 'Satyam Cineplex' of the Jo Bole So Nihaal bombing fame.

PS: May I suggest we reserve the 'Zulmi' reviews and discussion of 'Parineeta' to this other thread ---> http://www.zulm.net/forums/viewtopic.php?t=7743 while we leave this thread for discussing reviews from critics and other online sites.


Last edited by Sanjay on Fri Jun 10, 2005 11:21 pm, edited 3 times in total.

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PostPosted: Fri Jun 10, 2005 10:57 pm 
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Yeah Sanjay, we'll take our discussion to that thread. I'm planning to see it tomorrow. I can't wait.


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PostPosted: Fri Jun 10, 2005 11:48 pm 
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WARNING: Some Spoilers.

http://autofeed.msn.co.in/pandorav3/output/Cinema/48e920ac-5e9e-40c1-81d5-0080d3793592.aspx

'Parineeta' works like a charm
Source: Subhash K Jha, IANS.

Film: "Parineeta"; Starring Sanjay Dutt, Vidya Balan, Saif Ali Khan, Raima Sen, Sabyasachi Chakraborty; Directed by Pradeep Sarkar.

There's no getting away from "Devdas" in this new fascinating, absorbing and largely sensitive rendering of Bengali litterateur Saratchandra Chattopadhyay's study of the male ego and its tragic repercussion on matters of the heart, set within a feudal backdrop.

Debutant Pradeep Sarkar's adaptation of the complex original material is as far removed from Bimal Roy's "Parineeta" as Sanjay Leela Bhansali's "Devdas" was from Bimal Roy's earlier classic.

Literary classics are open to interpretation. Sarkar's take on Saratchandra proves it with bridled élan. While Saratchandra according to Bhansali was far more emotionally and optically extravagant, Sarkar's "Parineeta" is more reined-in, at times almost inhibited...And then like a flower opening its petals, it is also prone to sudden fits of extroverted aesthetics.

The Lolita-Shekhar lovemaking sequence (an add-on that may leave the purists gasping indignantly) is done as a smoothly transitional process from banter to bed between the childhood pair.

The contradictory moods are well balanced and preserved. It's unclear why the original novel has been shifted from the early 20th century to the 1960s, unless this dizzying translocation was done so that the hero can play jazz on the piano and savour the songs of Elvis Presley, or Rekha (in a thoroughly redundant appearance) breaks into a smouldering jig a la "Moulin Rouge" and even plonks herself into a visibly embarrassed Sanjay Dutt's lap.

Oooh...Hot, baby, hot. Pradeep Sarkar instils a smouldering intensity into the story of a hero who's too arrogant and self-absorbed to say yes to love. Unlike Saratchandra's "Devdas", Shekhar finally stands up to his conscience, heart and tyrannical father in the nick of time.

This Saratchandra hero is no walkover. And neither is the film.

The sequences between father Sabyasachi Chakraborty (as nasty and self-serving as entrepreneurs can get in our movies) and son Saif Ali Khan would immediately remind audiences of the father-son whiplash war of words in Bhansali's "Devdas"...Both dads refer to their rather spoilt and decadent sunny-boy's childhood sweethearts as whores.

In fact Shekhar's autocratic father calls his son 'napunsak'. The provocative expletive triggers off a masculine reaction in Shekhar, leading to a rather strange and strident climax where we encounter Saif literally breaking down the wall between him and his beloved!

The Shekhar-Lolita sequences possess a quality of understated naturalism. Childhood love is omnipresent in both of Saratchandra's classics. To the director's credit, "Parineeta" succeeds in giving a twist to the tale...a tormented but ecstatic romantic twist.

Saif and newcomer Vidya Balan look perfectly compatible. And Sanjay Dutt who plays Lolita's older benefactor looks mature and self-deprecating enough to play the rakish, slightly over-the-hill other man.

Cast in place, Sarkar gives the backdrop a body and a face. With exceptional help from editor Hemanti Sarkar, art director Keshto Mandal/Tanushree Sarkar/Pradeep Sarkar and most of all cinematographer N. Nataraja Subramaniam, the director reconstructs the bustle and social life of the idle rich in Kolkata in the 1960s...the clubs and cards sessions, the flirting and innuendos...The film takes us back to a lifestyle when an existential crisis meant you had to choose between two beautiful women, one for wealth and the other for romance.

The world of "Parineeta" is cloistered and yet liberating. The characters are dressed for the occasion but not bound to the period that they represent in a suffocating way.

The downscaling of the emotional pitch is done with stealth and grace. Except for the climatic rapping-on-the-wall (Saif looks far more convincing banging the piano in a frenzy of unfulfilled passion), the drama always moves with a ballerina's footsteps.

There is a certain elegance and old world charm to the narrative. We can almost hear the characters' breaking hearts on the elaborate but uncluttered soundtrack.

The narrative, pacing and dialogue delivery are shaded and opened-out. Though shot indoors, the effect is of a liberating light rather than an unventilated darkness.

Newcomer Vidya Balan is a refreshing change from the conveyer-belt heroines of today. She looks like she would rather stroll in the garden than pant over the treadmill. But she fails to comprehend the innermost nuances of the character.

To her credit, the debutante is surrounded by beauty and harmony, both in the cast (Raima Sen and Diya Mirza are pretty wallflowers) and the production design so that she comes across far more effectively than she would have otherwise.

Sanjay, though looking strangely tired, gets the tone of the era right.

But it's Saif who walks away with the acting honours. Expressing the rancour, petulance, arrogance and insensitivity of a spoilt rich heir, he lets the bile and tears flow unabashedly. His grip over his character's sensitivities is apparent though not in any come-see-how-good-I-am way.

"Parineeta" works as a romantic drama and a period piece mainly because the cast and crew seem to get the point of the literary source without making a song-and-dance of scrupulousness.


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PostPosted: Sun Jun 12, 2005 7:05 pm 
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Reviewed by: Alok Kumar
Reviewer's Rating: 9 out of 10
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Cumulative Rating: 10 out of 10
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Parinda, 1942: A Love Story, Kareeb, Mission Kashmir, Munnabhi MBBS.

Each of these above-mentioned films are from producer Vidhu Vinod Chopra. Not all are box-office winners, but each bears a stamp of quality, class, and refinement. Parineeta is Chopra´s latest release and is no exception. The film offers beautiful performances, a moving love story, an aesthetic presentation, and excellent music. The film triumphs on almost every level and emerges not only as one of the best films of 2005, but also as Chopra´s finest production to date. Chopra also offers us a woman who I feel may be the most promising upcoming actors of her generation, Vidya Balan, who stuns with a pitch-perfect, sensitive, and subtly nuanced performance. Her performance is not that of a debutante, but rather of a powerful actor.

The film itself has a simple story to tell. Lolita (Vidya Balan) is the orphaned lower-middle class neighbor of wealthy Shekhar (Saif Ali Khan) in 1960s Calcutta. Lolita and Shekhar are childhood friends and lovers attempting to overcome an all-too-obvious class chasm. She lives with her uncle, who owes an exorbitant amount of debt to Shekhar´s father. Shekhar´s father is a cold and calculating businessman who has plans to sieze Lolita´s family´s haveli due to this outstanding debt and turn it into a five-star hotel. Shekhar himself loathes his father´s profession and is oblivious to his father´s sceme. He prefers to spend his time composing music and courting Lolita. When Lolita comes to learn of Shekhar´s father´s nefarious scheme, she urges her uncle to seek help from a wealthy benefactor Girish (Sanjay Dutt). Girish secretly loves Lolita, and his entry into the lives of these neighbors causes an enormous misunderstanding between Lolita and Shekhar, who jealously accuses his childhood sweetheart of whoring herself out for Girish´s charity. Thus, the lovers are seperated and Shekhar eventually follows in the footsteps of his father, becoming the same cold and calculating businessman he once professed to hate and accepting the marriage proposal of Gayatri (Diya Mirza), a beautiful yet ultimately vapid and superficial woman from a wealthy family.

The performances in the film are all consistently excellent. Vidya Balan´s portrayal of Lolita is of such a high standard that she puts the industry´s current favorites like Aishwarya Rai, Rani Mukherjee (Yes, even Rani´s overdone performance in Black), and Priety Zinta to shame. Though not strinkingly beautiful, she is unconventionally pretty and her sweet simplicity reminds of Ashwini Bhave in Parampara and Yugpurush. At times she also reminded me of Manisha Koirala in 1942: A Love Story. I´m predicting that Balan will eventually shoot to the top of the A-List and will go on to become not just a film star, but an actress of the calibre of Meena Kumari, Nargis, etc. There´s no flaw in her performance, really nothing to improve upon -- be it diction, emotiveness, body language, and screen presence. Her performance is perfect.

Saif Ali Khan further consolidates his position as an actor of substance and delivers a solid performance, balancing intense love for this woman with intense jealousy of Girish. Khan straddles the line between proud anger and self-loathing with enormous skill. A lesser actor would have played the character of Shekhar as either an over-possessive neurotic or an immature and arrogant child. Shahrukh Khan, for example, in Devdas overplayed his character´s self-righteousness and pride and delivered an overdone, one-note performance. Saif handles the character with sensitivity and, as a result, helps the viewer understand Shekhar´s motives in some parts and dislike him in others. When Gayatri complements Shekhar on his business acumen, applauding a musician for having such a practical skill, Shekhar replies, "No, I´m not a musician, just a businessman," Saif delivers the lline in a way which demonstrates both Shekhar´s understanding of who he has become and his utter hatred of himself for transforming into such a cold and bitter person.

Finally, Sanjay Dutt plays Lolita´s benefactor Girish with warmth and compassion. Dutt plays Girish as a simple man with straightforward thoughts and emotions, a character who we instantly fall in love with. He supports Balan and Khan wonderfully and is a scene stealer, especially in his introductory scene when he first meets Lolita. This year Sanjay Dutt has demonstrated his versatility as an actor, first with his masterful performance in Leena Bajaj´s underrated Shabd and now with his excellent turn in Parineeta. All three lead performances are award-worthy.

Diya Mirza has a small yet impressive supporting role in the film as Gayatri, Shekhar´s fiance. She looks stunningly beautiful in her period gowns and dresses and radiates charm in her scenes with Saif, especially her introductory scene at Gayatri´s birthday party. Rekha surprises in her cameo as a lounge singer with her fun cabaret number "Kaisi Paheli Zindagani," looking young in a form-fitting maroon sari and dancing with grace.

Shantanu Moitra´s music fits the film very well, adding to the rich ambiance and setting of the story. The songs are aesthetically picturized, especially "Piyu Bole", "Soona Man Ka Aangan", and Rekha´s above-mentioned song. Techinally, the film is beautifully shot. Everything looks sumptuous - the elegant mansions, the beautiful clothes, the hills of Darjeeling and Kolkata´s busy streets. The Bengali culture adds a classy sheen to the movie and debutante directory Pradeep Sarkar shows immense promise by understating his film´s beautiful love story with soft lighting, rich color arrangements, and well-framed scenes. The montage involving Shekhar´s jealous visions of Girish and Lolita making love on their wedding night and his frenzied piano playing is just one example of the artistic depth and poignance of Sarkar´s direction.

The only flaw in the film is that the post-interval proceedings film seem extremely rushed. The characters and events unfold slowly and with such precision in the first half that the post-interval and climax make the movie seem rushed and uneven. Had Sarkar taken his time in the latter portions of the story, the film would have had even more of an impact. As it is, Parineets rises above this flaw and emerges a film that resonates with maturity and emotional poignance. A must-see.


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PostPosted: Mon Jun 13, 2005 11:00 pm 
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The Pioneer reviews "Parineeta". I have to check this film out soon.


------------------------------------------------------------------------------

Can't put down a good story

.

Parineeta




* ing: Saif Ali Khan, Sanjay Dutt, Raima Sen, Vida Balan



At: PVRs



Rated: Give your heart for





In an age when your partner has the audacity to actually take you out for drink and then twirl his glass stem over the candle-light to say unexpectedly and killingly that "I no longer love you", a weighty, staying and true-to-love romance like Parineeta evokes quite a hulchul in the heart.



Modern romances on the screen have long lost their touch with reality, sliding instead into lust and often being publicised as sex thrillers.



So it was quite a well-calculated decision by Vidu Vinod Chopra to actually resurrect the Meena Kumari-Ashok Kumar starrer of the black and white days and do a Devdas kind of gloss over it to suit the taste for frills for today's audience. As with Devdas, and purists can go take a walk, Parineeta 2005 too gives you reason to immerse in the emotion which has not lost sheen for more than four decades after it fell out of a silent Meena Kumari's expressive eyes, or for that matter, when the first word was scripted by the beyond compare Sarat Chandra.



Though Vidya Balan is not a patch on Meena Kumari's striking beauty, she does hold your eye with her well-honed histrionics. Like noodles, she grows on you. As for Saif, the intense, pampered and somewhat pig-headed son of the millionaire Parineeta is in love with, one tends to agree with Vidu that there could not have been another person to do the role. Besides, of course, signalling the arrival of a seasoned actor in Saif, it also shows how intense the chhota nawab can get, away from the lighthearted youngster he often plays in most of his movies.



Sanjay Dutt seems to have become staple for the VVC banner though he works well at leaving you sad for him. Parineeta is good film and it proves a dictum one has always believed in - Nothing can keep a good text down. In this case, a bulk of the kudos go to Sarat Chandra whose written word is law here - a law you would love to read through, understand and then fight for.



As for the glaming up of the sets, it has been done with sensitivity and an eye for period charm. The music complements the pervading atmosphere of poise and gentleness, giving enough respect to an era it was born in.



The only jarring note was the last scene which was loud, much like today's Dilli wallahs, totally unrequired and so artificial that one felt like having been yanked out of a time machine without warning.


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PostPosted: Tue Jun 14, 2005 3:53 pm 
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Parineeta is no Devdas

Subhash K Jha | June 14, 2005 14:01 IST


There's no getting away from Devdas in this new fascinating, absorbing and largely sensitive rendering of Bengali litterateur Saratchandra Chatterjee's other study of the male ego and its tragic repercussion on matters of the heart, set against a feudal backdrop.

Debutant Pradeep Sarkar's adaptation of the complex original material is as far removed from Bimal Roy's Parineeta as Sanjay Leela Bhansali's Devdas was from Bimal Roy's earlier classics.

Literary classics are open to more than one interpretation. Sarkar's take on Saratchandra proves it with bridled élan. While Bhansali's film was emotionally and optically extravagant, Sarkar's is more reigned-in, at times almost inhibited. And then, like a flower opening its petals, it is also prone to sudden fits of extroverted aesthetics. The Lolita-Shekhar lovemaking sequence (an add-on that may leave purists gasping indignantly) is a smoothly transitional process, from banter to bed, for the childhood pair.

Special: Showcasing Parineeta




The contradictory moods are well balanced and preserved. It's unclear why the original novel has been shifted from the early 20th century to the 1960s, unless this dizzying translocation was done so that the hero can play blues on the piano and savour the songs of Elvis Presley, or Rekha (in a thoroughly redundant appearance) can break into a smouldering jig and plonk herself onto a visibly embarrassed Sanjay Dutt's lap.

Pradeep Sarkar instills a smouldering intensity into the story of a hero too arrogant and self-absorbed to say yes to love. Unlike Devdas, Shekhar finally stands up to his conscience, heart and tyrannical father.

This Saratchandra hero is no walk-over. And neither is the film.

The sequences between father Sabyasachi Chakraborty (as nasty and self-serving as entrepreneurs can get in our movies) and son Saif Ali Khan would immediately remind audiences of the father-son whiplash war of words in Bhansali's Devdas. Both dads refer to their spoilt and decadent sons' sweethearts as whores.

Not a nice thing to do. Saratchandra suffered from a pronounced partriarchal complex. Both Devdas and Parineeta are coloured by a filial prejudice that seeps into the romantic arteries of the plot, rendering the hero almost impotent.

In fact, Shekhar's autocratic father calls his son a napunsak, a eunuch. The provocative expletive triggers off a masculine reaction in Shekhar, leading to a rather strange and strident climax where we encounter Saif Ali Khan literally breaking down the wall between him and his beloved, as onlookers egg him on, "Tod do, tod do!"

Break a wall, don't break a heart, huh? Well, so much for literal literary transcreations. There is a lot that is soft, delicately poised, and palpably contemporary in Sarkar's Parineeta.

The Shekhar-Lolita sequences possess a quality of understated naturalism. Childhood love is omnipresent in both of Saratchandra's classics. To the director's credit, Parineeta succeeds in giving a twist to to the tale: A tormented, but ecstatic, romantic twist. Saif and newcomer Vidya Balan look perfectly compatible. And Sanjay Dutt, who plays Lolita's older benefactor, now looks mature and self-deprecating enough to play the rakish, slightly over-the-hill 'other' man.

Cast in place, Sarkar gives the backdrop a body and a face. With exceptional help from editor Hemanti Sarkar, art director Keshto Mandal/Tanushree Sarkar and most of all cinematographer N Nataraja Subramaniam, the director reconstructs the bustle and social life of the idle rich in Kolkata of the 1960s. The clubs and cards sessions, the flirting and innuendo. The film takes us back to a lifestyle when an existential crisis meant you had to choose between two beautiful women, one for wealth and the other for romantic health.

The world of Parineeta is cloistered and yet liberating. The characters are dressed for the occasion but not suffocatinglly bound to the period they represent. The melodrama is often played at a shrill crescendo. But the down-scaling of the emotional pitch is done with stealth and grace. Except for the climatic rapping-on-the-wall (Saif looks far more convincing banging the piano in a frenzy of unfulfilled passion), the drama moves with a ballerina's footsteps.

There is a certain elegance and old-world charm to the narrative. We can almost hear the characters' breaking hearts, with the elaborate but uncluttured soundtrack.

The narrative, pacing and dialogue delivery are shaded and opened-out. Though shot indoors, the effect is of liberating light rather than an unventilated darkness.

Newcomer Vidya Balan is a refreshing change from the conveyor-belt heroines of today. She looks like she would rather stroll in the garden than pant over the treadmill. But she fails to comprehend the nuances of the character. Her performance skims the surface with prideful spontaneity. To be fair, the debutante is surrounded by beauty and harmony, both in the cast (Raima Sen and Dia Mirza are pretty wallflowers) and production design so that she comes across far more effectively than she would have otherwise.

Dutt, though looking strangely tired, gets the sur of the era right. But it's Saif who walks away with the acting honours. Expressing the rancour, petulance, arrogance and insensitivity of a spoilt rich heir, he lets the tears flow unabashedly. His grip over his character's sensitivities is apparent, though not in a come-see-how-good-I-am way.

Parineeta works as a romantic drama and a period piece mainly because the cast and crew seem to get the point of the literary source without making a song and dance of scrupulousness. Sure, there's a tender care and a furious focus on period details and consistency of characterisation. But, most of all, there's a sense of nostalgic stock-taking in the way the three people in the triangle react to their environment and social circumstances.

Though the striking resemblances stare you in the face with the characters, plot and rich colours, don't look for Sanjay Leela Bhansali's Devdas in Pradeep Sarkar's Parineeta. And you'll come away a richer cineaste from this ode to a romantic era.


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PostPosted: Tue Jun 14, 2005 4:03 pm 
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I totally agree!! that SLB films dont create nostalgia but opulence only(BLACK and DEVDAS).

I saw some sceners of Original Miracle Worker and then realized what SLB lacked in his grand saga!

While just done right period feel of Sahab Bibi, 1942 a love story etc bring a nostalgic feel to the film.

No doubt even being a dud Kareeb had very beautiful use of cinematography.

Munna Bhaii was also shot aesthetically! I just got wowed when Chan chun song starts!

I always liked MK, over Mohabtaen, when watched both in the same week.

I wish VVC keep them restrained with budget/etc and not go into on your face multi crore pseudo class acts! :roll: :(


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PostPosted: Wed Aug 24, 2005 8:34 am 
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werther wrote:
** Post Deleted **

** If posted again a possible ban can take place **

** Edited by: Urbanlegend **
Now I am curious to know what is it that was posted.


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