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34 Responses to “Mirzya (Image & Trailers) [updated]”
As I said, this is my most awaited movie of 2016 apart from FAN. Totally hooked on this project, hope Harshvardhan is good.
Loved the Trailer and ROM has been saying again n again that he’s not the type of film maker to make a regular Hindi potboiler, the trailer shows depth and care and I expect a refreshing movie from ROM!!
Mehra is capable of so much more than this. I have enough respect for him not to pre-judge him completely but he’s been regressing for me since D6. Glad he got a success with BMB but it was otherwise a very uninteresting film. And this current trailer suggests too much of a synthetic film in the Hollywood sense. Hope I’m wrong here but I’m not sure why he’s not doing more ambitious stuff.
Good comment satyam
Basically Mehra has started prostituting his skill (& soul) at the altar of nepotism.
As for kjo he’s lately made this his main dhandha and he’s always looking for new starkids
Seems it is adapted from the folklore of Mirza Sahiban. If its only adapted and one is not expected to be faithful all the time, then I hope they’ll change the ending somewhat and not show Sahiban as a dimwit.
What can you tell us about the forthcoming film ‘Mirziya’? How did director Rakeysh Omprakash Mehra convince you to write the script?
For now, I can only tell you that Mirziya is aaj ka (today’s) romance, with an echo of the past. Rakeysh is so involved in each and every line that sar khaa jaata hai (he eats your head). His favourite question is, “But why would he say this?” To which I say, “That’s because this is his nature.” You have to explain again and again to him. Then he agrees
I am always interested in Mehra, not least in a visual sense but the period elements here seem a bit too synthetically done (this is a common Bollywood problem, it’s also one found in many Chinese period pieces and so on). There seems to be something of the RDB structure here with the doubling of present and past. But unless something very surprising happens here I consider this a disappointing venture from the director. The second such after BMB. Of course I wish him success as I want him to survive one way or the other but this is a far cry from Aks or D6 or even RDB (much as I’ve always had certain issues with the film) for that matter. That Mehra can make a technically proficient film is not in question. But if he’s not careful he might find himself with the Santoshi problem where a number of promising films (even when disappointing at other levels) never quite lead to masterworks because the director is all over the place (Satoshi did deliver a true masterwork in Khakee but perhaps too late). That comparison is unfair to Mehra at this very point but it’s certainly a cautionary one.
Think it’s more likely to be the latter since Mehra looks to be in form and if anything this seems to be a more dynamic film than BMB. On the other hand I don’t know what kind of initial he gets with these actors or what kind of impact they have in the film and so on.
Might have said this before but this film seems to have an RDB kind of structure. The doubling. Mehra’s skills can scarcely be doubted and they’re certainly on display here (even if the period elements look synthetic) but I wish he’d chosen better actors and more than this a more challenging subject. I’ve been waiting for this from him since D6.
That’s because continuity and renewal are critical to Mehra’s vision of cinema. He moves, no he glides, from one era to another without punctuation marks in pursuit of that uncorrupted core of humanism which makes life worth living even in the worst of times(and honestly, it can’t get any worse than now, can it?).
Mirzya is a very simple yet extremely layered love legend . The lovers here face what lovers everywhere have faced since love was discovered in the human heart. As in Rang De Basanti, Mehra creates two level of storytelling, one that is situated in the present times with the lovers going through the love tropes with a kind of gentle persuasiveness that makes destiny seem charmingly welcome, and the other love story that unfolds in a snowswept landscape of the past with a fatal fury.
And Gulzar—God bless his insight into the human heart—gives them such lovely lines to speak. Harshvardhanand Saiyami own those lines with proprietary pride. The exemplary sound design (Pranav Shukla) is so textured and tonally correct we can hear every crack in the lovers’ hearts.
This brings me to the film’s exceptional technical qualities. Mirzya is arguably the most technically accomplished piece of cinema in a very long time. Spaces in the heart are virtually manifested on screen in the characters’ clothes, demeanour, performance and posture. The visual landscape reifies the emotional content of the plot without hammering in the link between what we see and what the characters feel. The romance in the past fuelled by a nomadic mating dances(Raju Sunderam’s choreography is divinely erotic) and rituals from folk art which coalesce in a comfortable union of a fugitive heritage and contemporary conventions.
Let’s talk about how Mirzya has been received…
Mirzya has been a slow starter, a very slow starter. But let me tell you, it’s a big screen experience and a very personal one. There is a section of audience who is loving it. Please understand that the narrative of the film is very different from the norm. So, it needs a discerning audience.
So, you’re saying that it has therefore got bracketed into a niche film…
No. As I said, those who are coming into the theatres are liking it. I hope it picks up.You can’t write it off.
Are you disappointed with the reviews?
The film received mixed reviews. Some critics wrote superlative reviews, while some of them still saw the film through the same tunnel vision. It’s okay.
Some people are saying that they haven’t understood the film. It happened with you in Aks too…
Not really. More than anywhere else, it happened to me with Rang De Basanti on its first day itself. And then, you know the feedback that film got across the world. I have just come back from London, and the desi press and the world press both loved it there. Also, I got a 15-minute standing ovation after the screening was over.
Does the slow start bother you? You have launched Anil Kapoor’s son (Harshvardhan) and people say that it was a responsibility you carried on your shoulders…
I won’t go that far. It’s a movie. I am trying to tell a story. It had to be someone’s son.
Have you spoken to Anil after the release?
Let’s talk about the film na?
There is a school of thought that Gulzar’s version is not contemporary to suit the launch of two youngsters…
1,000 people will have 1,000 thoughts. What one needs to understand is the film’s narrative, and for that the janta and the critics have to be discerning. Maybe it’s art-house India and not commerce India.
The film was not made at a low budget. What about the recovery?
Money spent was Rs 30 crore. We have already recovered Rs 21.5 crore if I include the satellite and music rights. It’s not a very long haul from here. The digital rights yet need to add on. We will get over the line and I am not so worried about that.
Your opinion on the collapse of the studio culture, before we come back to Mirzya? How do you see the next few years for filmmakers?
I don’t think that studio culture has collapsed. It is undergoing a … (thinks hard).
Yes, that’s the word. Moreover this has not happened in India only, it has happened worldwide. The biggest and best of studios have shut down and reopened. You can’t deny that the Studios brought in their share of advantages. Money became clean, every transaction happens in cheques (pauses). Let’s put it this way. Gauging the size of the market, we’ll have to work within that.
If you were to make Mirzya again, would you make any changes?
I wouldn’t like to change a single frame. Everybody has given their best and excelled in whatever they did.
Would you agree that there is too much of pressure if you have made a cult film (Rang De Basanti) and if your last film has been a super-hit (Bhaag Milka Bhaag), and if above all you are launching a big star’s son (Harshvardhan). And if the cash registers don’t start ringing immediately…
Aisa nahi hai. If you see all the films I have made, they have had their own way of telling a story. The people who like my kind of cinema have liked the film. It will grow. Ek film hoti hai jo initial let hai and we judge it at the first weekend. Ek aur film hoti hai jo steadily grow karti hai. Mirzya belongs to the second category. And this is not just my opinion, several people think that way.
So you’re saying that it will grow bit by bit, not in heaps…
Absolutely. Especially if I have tried something new, which I have with Mirzya. I have tried to invent a new Indian musical. Naya nahin karo toh kehte hain kuch toh naya karo…
Many movies have worked in spite of the leads. Kajal Kiran and Tariq are laughably bad in Hum Kisise Kum Nahin. But how satisfying the drama was. It’s the same story. A boy and a girl separated as children. Fate conspires. They meet again. They bicker. They do the I-won’t-tell-you-who-I-am and the I-hate-you (times three). And then, the emotional crescendo of Kya hua tera vaada, reducing her – and the audience – to tears.