 |
|
Mohit Suri's 'Saiyaara' enters a cinematic landscape perpetually seeking its 'Aashiqui,' a testament to audiences' enduring fascination with melancholic musicians grappling with mental health struggles, all while expressing their inner turmoil through song. The Friday morning screening was populated largely by college students, a demographic known for their interactive engagement with films, often punctuated by wisecracks and commentary directed at the screen. However, the atmosphere shifted palpably when the grand concert number commenced. Many audience members, abandoning their earlier banter, instinctively reached for their phones, capturing the moment on video, highlighting the film's ability to resonate, at least visually and aurally, with a younger generation. 'Saiyaara,' directed by Mohit Suri and produced under the Yash Raj Films banner, has an origin story intertwined with the 'Aashiqui' franchise, initially conceived as a third installment that ultimately failed to materialize. While not a product of the Bhatt camp, the film undeniably embodies the quintessential Bhatt aesthetic, characterized by its pervasive gloom, emotionally charged narratives, self-flagellating characters, and an abundance of hummable rock ballads that, despite their individual melodies, tend to coalesce into a familiar sonic landscape. The narrative unfolds with aspiring singer Krish, portrayed by Ahaan Panday, attempting to pitch a song to a prominent popstar. In this pursuit, he sets to music a partially written poem by Vaani, played by Aneet Padda, a fledgling writer with whom he shares a nascent acquaintance. Their collaboration is formalized as they are hired to work together on the song. A scene where Krish snatches Vaani's notebook as she works evokes a sense of unease, particularly for anyone familiar with the creative process of writing. This act, the reviewer suggests, would likely invite the lifelong enmity of any self-respecting writer. Initially, Krish and Vaani appear to amplify each other's inherent sadness. Krish is burdened by an alcoholic father and a pervasive sense of resentment, while Vaani is reeling from the recent trauma of being abandoned by her fiancée on their wedding day. However, as the song gradually takes shape, a transformation occurs in their relationship. They begin to cultivate trust, extending encouragement to one another. Vaani starts to open up, while Krish manages to temper his volatile temper, leading to a growing sense of intimacy between them. Mohit Suri's directorial style has become well-established over the course of his career. He is not known for his innovative approach, preferring instead to revisit familiar narrative beats and thematic elements in each successive film, with only minor variations. Angsty love stories are his stock-in-trade, and 'Saiyaara' unfolds predictably, progressing from one obstacle to the next in a serene, almost predetermined manner. For a significant portion of the film, Krish's volatile temper and lack of self-control appear to be the primary impediment to their relationship. However, Vaani's perpetually haunted expression hints at deeper, more complex issues lurking beneath the surface.
A seemingly innocuous detail, Vaani's casual mention of writing in her diary due to forgetfulness, serves as a narrative foreshadowing device. Inevitably, Vaani collapses and is promptly rushed to the hospital. A subsequent visit reveals the devastating diagnosis: early onset Alzheimer's. Vaani's condition, which had been largely imperceptible until this point, rapidly deteriorates, manifesting in frequent episodes of memory loss, affecting both her past and present, including her relationship with Krish. Even accounting for the artistic liberties inherent in filmmaking, the reviewer expresses alarm at the accelerated progression of Vaani's condition, culminating in a scene where she wields a knife, screaming at Krish. The juxtaposition of Ahaan Panday's casting, given his status as a 'nepo kid' (nephew of Chunky Panday and son of Chikki Panday), with the character of Krish's earlier rants against 'nepo kids' provides a layer of ironic commentary. Despite this potential distraction, Panday delivers a commendable performance, effectively capturing the character's inherent softness without sacrificing his edginess. Aneet Padda, in contrast, adopts a more restrained approach, reminiscent of many contemporary Hindi film actresses. She operates from a position of emotional safety, maintaining a stoic facade and allowing emotions to flicker subtly across her face. Whether intentional or not, this approach contributes to an enigmatic portrayal of an already guarded character, making her difficult to fully comprehend. Following the central plot twist involving Vaani's diagnosis, the film's second half struggles to maintain momentum. Vaani gradually withdraws, initially into herself and then from the narrative altogether. The reviewer finds it difficult to accept the premise that her caring, protective parents would simply allow her to leave home unsupervised. 'Saiyaara' shifts its focus to Krish, becoming his story, a transition that weakens the overall narrative. Beyond reiterating the transformative power of love in making him a more responsible person, the film fails to offer a compelling or original direction for his character to develop. The reviewer draws a comparison to Varun Dhawan's character, Dan, in 'October,' whose trajectory is deemed genuinely thoughtful and well-developed.
The lingering aftertaste of Suri's previous films, 'Half Girlfriend' and 'Ek Villain,' is replaced here by a more melancholic and subdued sentiment. However, 'Saiyaara' ultimately suffers from a lack of ambition, content to pander to its target audience of mopey lovers. In an industry desperately seeking reinvention and innovation, the film represents yet another uninspired retread of familiar tropes. The article concludes by contrasting 'Saiyaara' with a separate news item highlighting a Dutch woman dedicated to cleaning up Srinagar's Dal Lake, a stark contrast in themes and highlighting the lack of real world impact of the former.
Source: ‘Saiyaara’ review: Mohit Suri romance offers familiar gloom and doom