Director: Rakeysh Omprakash Mehra
Starring: Harshvardhan Kapoor, Saiyami Kher, Anuj Choudhry, Anjali Patil, Art Malik, K.K. Raina, Om Puri
Run time: 129 mins
Rakeysh Omprakash Mehra’s Mirzya is a casualty of some honest to goodness desires than a prey to Sahiban’s apparent double-crossing. Why did Sahiban break Mirza’s bolts? On the off chance that this was the enormous focal question that Mehra approached investigating in his reinterpretation of the Punjabi adore legend then, for all the trust he ignited, the film doesn’t exactly think of any startling disclosures, nor does it offer a radical, present day comprehension of the story. It could be said, without tinkering with the prevalent views and noise, the film just places the age-old story in new domains and periods — the primordial, basic past of Mirza and Sahiban and the contemporary (and rather helpful) Rajasthan of Suchi and Munish (Harshvardhan Kapoor and Saiyami Kher); the scope of snow against that of sand; the bow and bolts against the weapons.
The film doesn’t mean to question or separate the fundamental medieval develop and the power tussle over the lady inalienable in the story; in any romantic tale so far as that is concerned. It just acknowledges it as a given. Obviously, this might be the truth even today in the seasons of khap panchayats and respect killings yet some measure of renegotiation is the thing that one would have expected in a retelling. Returning to the old stories then turns out to be more similar to the scaling of an awesome visual desire as opposed to an engagement with its center, more restorative than broad. The standard feeling of misfortune that penetrates most grievous romantic tales is suggested; the enthusiasm, power, intensity, outrage, challenge get scattered.
The primitive bowed and progressive systems are tenderly looked after — the average citizens against eminence, dedicated workers, the shading partition (the reasonable princess against the shadowy little girl of the ironsmith). The lady is discussed laughingly as saamaan (ownership) from the get-go in the film; a property in the pull of war of male chauvanism. This disturbs in light of the fact that Suchi comes crosswise over as the greater and significantly additionally fascinating player in the dramatization — splendid, offbeat, careless, flighty, somewhat like Maya from essayist Gulzar’s own Ijaazat (1987). Dissimilar to Mirza, who turns inquisitively latent after one outrageous, tremendous demonstration of animosity, she is the initiator of things. The contention between her family and the mate is by all account not the only arrangement. She is additionally a lady in adoration with two men. How can one cherish leave so effectively from her heart one day? How does another progression in so rapidly? I desperately had a craving for hitting the respite catch for the story to remain focused these problems more, for the lady’s yearning to get more play. Oh dear!
There are two different characters who share fascinating issues and clashes. Karan (Anuj Chaudhry), the sovereign Sahiban is promised to, who cherishes her profoundly to try and put his life in question yet can’t exactly accommodate with her affections for another man. On the other hand Zeenat (Anjali Patil) who Mirza claims knows his rooh (soul). At that point there’s the mutual love of these two ladies for him. Yes, it’s all convoluted and one continues aching for these confusions to get investigated promote yet they get avoided. The four adolescents convey inside the limits of the film yet Art Malik gets terribly miscast as the Shakespeare regurgitating cop father of Sahiban, the anglicized complement strange and bumping.
At another level the most intriguing and convincing piece about Mirzya — its musical structure — additionally turns into its demise. The film plays out like an exceptionally stylised, stupendous Broadway musical, it’s just as you are seeing overwhelming theater on a 70 mm screen. One that can be exceptionally lavish and engrossing for a few (I was captivated) additionally separating and secluding for most. So the scenes and exchanges get compressed, plot development gets to be unexpected, the sensation clears a path for the tunes to take the story forward. You can really observe the film in its soundtrack alone. It remains the backbone and takeaway from the film. It’s a pity then that in spite of so much occurrence, such a great amount of aimed for in the film, at last you don’t feel as if you have returned with something considerable. As in each of his movies Mehra is not content with the standard thing, is very aspiring with his art yet doesn’t exactly hit the objective here.