I am not going to tell you what the film was about neither am I going to advice you for or against a certain film. I am not here to guide you through your movie watching ordeals. Feminist reviews are not meant to give a verdict on the quality of the film. Definitely not a film review that one reads and decides whether to watch the film in the theaters or not. Secondly, I think all critiques are crap.
First, I am not at all a movie buff, I used to be one, there was a time when I was to live on ‘films’, but then things ‘change’. But I gotta be a bit different, so I have decided to introduce a new category in my writings, feminist critical review.īefore I begin I must make some confessions.
No more blues.įilm / Book reviews are one of the most commonly seen content on the blogs around the globe. Time for my blog to wear different colors. With the change of Job, place, people I have recently changed one more thing in my life. Or let’s say I move on from one to the other. I don’t stay tuned to anything, body, person, concept, thought, believe, system, discipline, logic, reason, philosophy for too long. I know just one way of living life, change. That’s not my line but I particularly like it. "Fanaa" ends up a surprisingly tough-minded dramatization of an antiromantic thesis.“Change is the only constant”. The Zooni-Rehan affair fails to parse as anything but a maudlin genre construct, but once they're reconfigured in the second half of this very long film, the idea of their relationship is clarified. Next thing you know it's Kashmiri militants blowing up helicopters, gunfights on snowmobiles, double crosses, decoded messages and people thrown off cliffs. Yet just when "Fanaa" threatens to drown you in a candy-colored sea of saccharin - this being the moment when Zooni checks into the hospital for a miraculous retina replacement - the narrative springs its trap. Credit the director, Kunal Kohli, for the old-fashioned simplicity of his storytelling, if not for his primitive sexual politics. Their insipid romance is fortified by exchanges of poetry, impromptu musical numbers and frolics through metropolitan splendor, all of which is undermined by an ugliness of spirit that allows for a delightful woman to fall (empty) head over (obedient) heels for a repugnant leading man. On arriving in Delhi to perform a spectacular song-and-dance number for the annual Independence Day celebration, she falls in love with Rehan, a smarmy, over-accessorized tour guide (Aamir Khan). We begin in the provinces, where a beautiful blind girl, Zooni (Kajol), is pitied for her lack of a husband.
The epic Bollywood extravaganza "Fanaa" goes so far over the top that it reinvents itself halfway and launches on a brand new trajectory of the absurd.
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