Tuesday, October 10

Review of Dor


How far would you go to save someone you love?

Well… you have Nagesh Kukoonor’s Dor trying to find an answer, in a two hour celluloid journey of Zeenat that leads her to the parched life of child widow Meera.

Cinematographer Sudeep Chatterjee creates a breathtaking kaleidoscope as Nagesh takes us through the lives of two women on opposite sides of the same world. The splendour of Himachal and the charisma of Rajasthan are captured with equal precision to create a virginal background that this story deserves.

So why is Dor such a sought after movie?

Because it’s a rather fresh story that serves human emotion with the garnish of women empowerment. It is backed by good direction for an audience that flocks to multiplex in search of feel good cinema.

However what Dor lacks is genuineness, despite being a real story. The pain of a woman whose husband faces the goal escapes the audience, what remains on the screen is the nostalgia of a Himachal summer. In an effort to contain melodrama, Nagesh shies away from bringing out the best in Gul Panaag’s character. Hrishikesh Mukherjee in Anand dealt with a somewhat similar theme, two men, one facing death, the other cynical with life, whose trauma filled the screen and gnawed at the heart. Anand taught us long back how to emote on screen effectively without overdoing it. Dor fails at striking this chord.

Gul Panaag’s character therefore is a held back, fab India woman, with steely looks, restrained smiles and measured tones. On the other hand is Ayesha Takia, who graduates with aplomb from a sweet as sugar bride, her life gyrating around monthly mobile calls made to her husband to a child widow with haunted eyes. Her bursting into a “you are my sonia” after a week of losing her husband is beautifully etched. The extremely talented Shreyas Tapalde is an unnecessary add - on to the script yet a welcome cameo.

Dor’s music is haunting and accentutes the story, while "yeh hosla kaise jhuke" describes Zeenat’s resolve well while "Kesariya balaam" accentuates Meera’s plight well.

But this one is not from the independent filmaker Nagesh Kukoonor who gave us Hyderabad Blues & 3 Deewarein. Has the maverick given in to the lure of mainstream cinema. Hope not.


2 comments:

sanjay jha said...

nameste suchika
i liked 'dor'too,loved Ayesha Takia.
cheers,
jhaji.

shikha said...

"the buddha finally speak..."..finally you have updated your blog....dont understand should i say welcome back or thank you:)

I liked the essence of the movie.Dont think it lacks genuineness...surely it could be bettered, no doubts,but it is a positive looking movie..full of hope...regarding the pain "how long can one mourn the past or rather how long should one mourn the past..."

Somewhere the movie is very realistic...when ayesha says she would kill the person who killed her husband and hence her freedom was a rude truth...about the condition of women and the ultimate goal of a human being...again when the Girish Kanad says that his son died just when the haveli was to come back to him..shows the genuine character of a human being.

The story was surely well told and very much with todays time.

I dont really think you can compare Anand to Dor..that was a movie about two men in the 70's and Rajesh Khanna's situation was different...Also I think Gul Panag was like what she was because the stark difference between the attitudes (because of the upbringing/situations) had to be potrayed.