Movie Review:Paheli

What happens when the country's biggest star decides to sit in the producer's seat and produce a folktale?

What happens when the actor in question doesn't team up with any of his favorite directors, but with someone he hasn't worked before?

That's not all! For someone who has made a career out of commercial films, imagine him teaming up with a storyteller who tilts more towards art house/realistic cinema.
So many pahelis…

Once you attain superstardom, you either adopt the lackadaisical, chalta hai attitude or you genuinely feel the need to experiment with roles, with films that bring out the hitherto untapped talent.

So when Shah Rukh Khan decides to don the robe of a producer and team up with an accomplished storyteller to bring alive a tale that's worthy of note, you ought to celebrate. Because [a] It requires courage to swim against the tide and You realize that the actor has the courage to charter the path not many would dare to walk.

A film like PAHELI hammers the fact that SRK, the actor hasn't reached that phase when he is led to think that the roles/stories have got exhausted and it's the end of the road for him.

PAHELI isn't laced with romance and music like D.D.L.J.
PAHELI isn't candyfloss entertainment like KUCH KUCH HOTA HAI.
PAHELI isn't a visual spectacle like DEVDAS.
PAHELI isn't a love story of epic proportions like VEER-ZAARA.

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PAHELI is a simple film, revolving around simple characters. Yet, it works, partly because of a story that defies the stereotype, partly due to the super-efficient performances, partly due to the well-crafted screenplay and partly due to director Amol Palekar's convincing storytelling.

Raise a toast to one of the most fulfilling movie-going experiences in the recent times. For those who think that there's bankruptcy of ideas in Bollywood, it's time to retract your statements!

Lachchi [Rani Mukerji] is married to Kisan [Shah Rukh Khan], who is only interested in making money. After the wedding night itself, Kisan leaves home for five long years on account of his business. A ghost, who is in love with Lachchi, takes on the husband's appearance and enters her life.

Four years later, when the husband returns home, the villagers and relatives are bewildered. Lachchi is caught in a dilemma. So is the husband. And also the ghost, who wants to remain human and love Lachchi.

The villagers find themselves in a dilemma as well, whether to live with ambiguity or to resolve the riddle.

Folklores have always occupied a special place in India. And an interesting story, if narrated with utmost conviction, remains etched in your memory even after years have elapsed. Based on a legendary story 'Duvidha' written by literary stalwart Vijaydan Detha, with screenplay by Sandhya Gokhale, PAHELI transports you to a world that you rarely visit as a moviegoer.

One often complains of a good story getting ruined in inept hands. Fortunately, that doesn't happen with PAHELI. The cinematic interpretation is akin to a fairytale that holds your interest from start to end. The film involves you gradually and midway through the film, you wait with bated breath for the events to unfold.

Yes, the pacing is slow in the first half. In fact, the film moves at a snail's pace right till the intermission. It also tends to make the viewer impatient at times. But the post-interval portions more than make it up for the blemish. The ending -- the culmination to the story -- is most vital in a film like this and must say, the solution to the paheli is solved in the most innovative manner. From the wiring point of view as well, it seems like the most appropriate culmination.

Director Amol Palekar marries form [technique] and content [script] beautifully. Technically speaking, PAHELI is amongst the most refined films India has produced. The special effects, in plenty, are expertly executed and are akin to the icing on a delicious pudding.

Palekar has also shot the film well. His shot execution is very contemporary, yet he never forgets that it's not MATRIX that he's attempting, but folklore and folklores ought to have the earthy feeling.

More than anything else, Palekar has handled the story with amazing flourish. The 'introduction' of the ghost at the very start of the film [the ghost and his many avtaars, from a crow to a squirrel to a beautiful singing bird to a villager], also the sequence when the 'ghost' reveals his identity the very first time he interacts with Rani as also the turning point, when the look-alikes come face to face, are brilliantly executed.

Sandhya Gokhale's screenplay is almost flawless… and bold at the same time, especially Rani's decision at the start and also at the end of the film. PAHELI is a different kind of a 'love triangle' and the writer takes care to open the cards with care. Also, if you think that Suniel Shetty, Juhi Chawla and Amitabh Bachchan are stars and that they should've been given sufficient footage considering their star status, then you might feel disappointed since the three actors don't really have much to do in the film. But if you treat the three actors as mere characters that have a small but significant role to play in this folklore, you wouldn't really mind the screen-time accorded to them.

Dialogues, also penned by Sandhya, are another area where the film scores. The writer has not deviated from the script or made an effort to make the actors deliver lines that would look out of place in a folktale. The lines are in sync with the goings-on.

Ravi K. Chandran's cinematography is mesmerizing. The Rajasthani look is captured with élan by the lensman. Muneesh Sappal's sets deserve special mention. The detailing that has gone into giving a particular feel to the film is worth noting and appreciating. Editing [Amitabh Shukla] could've been crisper. The song in the post-interval portions [filmed on the husband] can easily be deleted to speed up the goings-on.

M.M. Kreem's music may not be of the chartbusting variety, but it has some wonderful melodies. 'Lagaa Re Jal Lagaa', 'Kangna Re' and 'Dheere Jalna' are embellished with words [Gulzar] and tunes that are soft and soothing to the nerves. No cacophony here! The choreography [Farah Khan] is tremendous as well.

PAHELI would be incomplete without SRK and Rani. The two actors are in terrific form yet again. If you ever had an iota of doubt about SRK's versatility, it would evaporate the moment you watch PAHELI. This is amongst SRK's most accomplished performances ever. He is fabulous as the ghost and equally convincing as the bewildered husband.

Rani proves yet again why she's the rani today! The actor, who has already proved her mettle in two diametrically opposite films this year [BLACK, BUNTY AUR BABLI], delivers yet another performance that is sure to dominate the next year award ceremonies as well.

Amitabh Bachchan is okay. Suniel Shetty and Juhi Chawla are alright, though Juhi does get a chance to display histrionics briefly. Amongst character actors, Anupam Kher and Rajpal Yadav stand out. Their individual scenes bring a smile on your face. Dilip Prabhavalkar is competent. Neena Kulkarni, Padma Rani, Mohan Bhandari, Aasif Sheikh and A.K. Hangal are natural.

Naseeruddin Shah and Ratna Pathak-Shah's voiceovers throughout the film are a bonus for the viewer. They may not be seen, but the voiceovers for the two puppets are a class act.

On the whole, PAHELI is one of the finest films produced in the recent times. A film like this proves yet again that we don't need to seek inspiration from outsiders [read Hollywood], when the Indian literat