If these lines sound painfully trite, its because I'm trying to comprehend the kind of scenario that must have � on some level - sounded like 'a good film' to the people who hastily decided to jump into it.īut while the first half is predictably cheesy, you don't mind it much. She does, and before her folks hurry up and arrive, the only kind of blind she is, is 'in love'. Aamir never ceases to surprise) and decides that since an eye-operation is possible, Zooni should chance it. She gives him her heart with complete abandon, and he, after some initial 'love ain't my thang' bits, picks her up (yes, literally. The two fall instantly in love and embark on Jatin-Lalit's repetitive songs, and while he suddenly goes from charmer to distant don't-believe-in-love mode (with a bizarre Lara Dutta cameo thrown in), they do share some sparks - albeit encumbered with sudden spurts of shayari every couple of lines. Lucky for him Zooni is obviously not the most superficial of girls. Rehan looks haggard and his look is extremely unflattering, to say the least. Leaping down to flirt with the ladies, he falls to his knees, and Zooni's sure he's the one. Aamir enters the film a la Raja Hindustani, spread-eagled roguishly atop a bus. Zooni's prince turns out to be Rehan Qadri, cockiest of tour guides. You'd be best advised to stop noticing the details right from the start) hence the teary goodbye.
Zooni's heading to Delhi with her friends to perform at the Rashtrapati Bhavan, (or some such. Her parents, Rishi Kapoor and Kirron Kher, are a warm old couple who spend their afternoons spouting lines of shayari and nostalgically recollecting their first meeting. This one too waits for her prince as she takes trains to distant lands (Delhi, in this case) with friends prettier than her (one in particular, playing Bobo, pretty much makes up for a lot of the first half) and waits for signs.
Her name is Zooni Ali Baig, and she's the girl you met in DDLJ, only blind. The actress has immense screen presence and a very contagious enthusiasm, and while she may play a sightless girl, her eyes continue to brim with life. She breaks into a grin and you can't help but smile. Kajol, not sure exactly where the national flag is - she's blind, you see - is facing a different direction as the kids sing Saare jahan se accha (immediately after it plays instrumentally in the credits) and a helpful teacher points her the right way. And it turns out to be a damp squib, essentially because he continues to stick with a contrived string of absurd coincidences that somehow worked for him earlier. This time the director tries to make his film about something, turning it into an impossible love-conquers-all-in-the-backdrop-of-nukes mish-mash. Kunal Kohli's last film, a romantic comedy ripped charmlessly off from When Harry Met Sally relies on touch-and-go encounters, on happenstance and serendipity, which is all very well if you like that sort of thing. The flaws lie in the words, and the man wielding the megaphone. Aamir performs manfully, but the script requires him to lay the histrionics on thick, and he obliges. Kajol isn't given too much to do, but she's the one who infuses a spirit into the film. Having said that, the actors do quite well, for the most part. But as Fanaa defiantly emphasises, a mere casting coup does not a good film make. It stars Kajol, India's numero uno actress of the 90s, opposite Aamir Khan, who, after Rang De Basanti, is enjoying more box office buzz than ever. What else is there? By this regard, this Friday's Yashraj release is right on the money. Trust Yash Chopra to take on Marlon Brando.īrando, that most insouciant of great actors, contemptuously once said that all producers do is casting.
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