Amodini's Movie Reviews

Amol Palekar’s foray into “commercial” cinema, Paheli is a Rajasthani folk-tale told with elan, opulence and vivid color. Based on the novel “Duvidha” by Vijaydan Detha, Paheli appears on-screen as a vibrant, full-of-life musical. The simple story tranforms into stunning visual imagery on-screen. Besides eye-catching cinematography, awe-inspiring locales, a deft director and actors who do their job ably, Paheli has an ethereal quality, a quixotic yet beautiful mix of the real and the fairy-tale-ish.

Laachi (Rani Mukherjee) is a Rajasthani girl, newly married to baniya Kisan (SRK). Her rosy dreams of married life are shattered when her husband seems to value his accounts over spending time with her, and leaves the very next day on business, to return after 5 years. Laachi is bereft, but is comforted by her sister-in-law, Kajri (Juhi).

Inexplicably her husband returns after only 3 days, a changed man, spouting flowery phrases instead of the angular words of the baniya. Laachi is delighted as is the household, but her husband reveals (only) to her that he is not Kisan, but a ghost who has assumed Kisan’s form, to be with her. She is taken aback and weeps, whereupon the ghost asks her to make a decision. If she decides to be with him of her own free will, he will stay, or else he will leave so as to not cause her any pain.

Laachi asks him to stay, and the two spend 4 happy years together, resulting in Laachi’s pregnancy. Amid celebrations in the 4th year, and Laachi’s labor, her real husband returns. Now there are 2 Kisans, both professing to be the real one. Since no one knows how to tell the difference, the villagers set off for the king’s court, for his decision. Mid-journey they meet a leggy shepherd (Amitabh), who promises to solve the problem…..

Rani shines as Laachi, and Sharukh does a commendable job as Kisan, doing justice both to the comedic yet feeble Kisan, and the masterful and confident ghost. Anupam Kher as Kisan’s greedy father is impeccable, while Juhi does a muted job as Laachi’s sister-in-law. Aditi Govitrikar as Laachi’s friend looks beautiful and performs adequately. Naseeruddin and Ratna Pathak Shah, dole out some home-truths , as the voices of “ghostly” dolls, while Rajpal Yadav provides the comedy, as the inter-village messenger. Sunil Shetty has a fleeting role as Kisan’s brother.

The story lends itself to feel-good distractions such as a camel race (which Kisan’s family’s camels win), and the finding of water in the dry Rajasthan desert. The plentiful songs are melodious and well-choreographed. The dialogues are very “Rajasthani” in feel, and the song lyrics (penned by Gulzar) are in-sync. with the film’s time period. The few special-effects are decently done. Details are well-taken care of, as can be seen in the costumes. The sets, not quite as opulent as the costumes, are adequate, and impart authenticity.

This film is the story of a woman. It is not an ode to women’s empowerment, or emancipation (as has been much-touted). However, the powerlessness of the woman is strongly felt in some poignant scenes, such as the one in which Laachi, on being asked of her wish (by the ghost), weeps because no-one has ever asked about her wishes before.

Nothwithstanding the little kinks in the story, this is a good film. Few directors can take a simple story and imbue it with just the right amount of mirth and charm, maintain pace, and still keep the viewer engrossed. Amol Palekar succeeds in doing just that. Highly recommended.

Siddharta, however is steadfast in his beliefs, and since Geeta is unwilling to devote her life to Siddharta’s cause, they part. She marries an IAS officer (Ram Kapoor), but has an affair with Siddharta begind his back. Finally, unable to bear a separation from Siddharta, she divorces her husband, and joins Siddharta in the villages of Bihar where he works. Meanwhile Vikram, is steadfastly climbing the ladder of success, accquiring wealth and contacts.

The story wends its way through Geeta and Siddharta’s life, its trials, and tribulations, exposing their thoughts and inner ideals. We also see Vikram, who although drawn to power and money, cannot get over Geeta and is tied to her through his attempts to rescue her from hardship. Can Geeta and Siddharta endure in their life of service ? And what of Vikram, who still loves Geeta ? The film leads us through their lives, stretched thin by love, relationships and commitment to their private ideals.

The film is stark and true, and brutal at times. It throws up many interesting questions, and is quite intriguing even at a philosophical level. English is used in atleast 50% of the film if not more, which was quite surprising. Moderately paced, the movie heats up towards the end, finishing up quite unpredictably. All three lead characters act well and convincingly. The script and direction succeed in delving into the characters lives and their private philosophies in depth, allowing the viewer to sympathise and feel for the characters. Direction is good, and storyline believable. This is a serious film, no song-dance routines, no frivolity, just a good story well-told. A must-see.