GHAI'S INTERNATIONAL DREAM FAILS TO TAKE OFF
By Pankaj Shukla
Critic's I-view
Twenty-five long years and hits after hits is the introduction of veteran filmmaker Subhash Ghai in Bollywood. People call him new showman of the entertainment business though the tag was originally attached with Raj Kapoor. Subhash Ghai had told me in an interview that today's hero has gone NRI. "So, I make film on NRI." Now, Ghai doesn't make films that he made with characters like Kalicharan and Lakhan of 'Ram Lakhan'. For him India doesn't live in cities like Rampur, Kanpur or Nashik. He makes film for those who see India from the rooms of metros. He starts comparing himself with Yash Chopra. Ghai's company Mukta Arts follows whatever Yashraj Films does.
So, when Yash Chopra went back to the past in 'Veer Zara', Ghai did it in 'Kisna'. That is the only similarity between the two films. While 'Veer Zara' was post-partition, 'Kisna' is pre-partition film. The duel between the protagonist and the antagonist was the main focus in 'Lagaan'. It's progression of love between an Indian boy and a British girl forms the backbone of 'Kisna'. This is also Ghai's take-off point for international cinema as he has also made English version of the film, with a shorter duration. Ismail Darbar scores the music for the Hindi version and A. R. Rehman for the English one.
The ' Kisna' time is somewhere close to Quit India Movement (1942) when the people of Indian subcontinent decided to teach the British a lesson. The British property and their families become the target of the hardliner freedom fighters. However, 'Kisna' (Vivek Oberoi) is a messenger of love, peace and unity. When hundreds of villagers mob a British house to kill all the natives inside, 'Kisna' realizes that his childhood friend, a British girl Catherine (Antonia Bernath)'s life, is in danger. 'Kisna' defies not only his fellow people but also his family. He wants to escort the British girl to the Capital where she may be safe.
Catherine is daughter of a shrewd and cruel British officer (Michael Maloney). While traveling through the woods and waters, flowers of love bloom between the two, and the third angle of the love story surfaces with Laxmi (Isha Sharvani) to whom Kisna has been engaged by his family. Kisna's family that includes his stern uncle (Amrish Puri) and brother (Yashpal Sharma) are dead against what Kisna is doing. So is an opportunist prince of the state (Rajat Kapoor). The journey of the love and trust is hindered many times by deceit, suspense and suspicion. But true lovers never meet unless God himself comes to save their love. So happens with Subhash Ghai's 'Kisna' too.
A common viewer doesn't know what Ghai wants to prove by making it. If he is looking for a mass appeal, it's lacking. Why does he try to make their heroines reveal their skin along with loads of intimate scenes as well as smooching. This is contrary to the way Indians lived in that era. The research is missing. The major flaw in the film is lack of concept and idea. Too many cooks spoil the dish and so happen with 'Kisna'.
With four great heads getting together for penning the film, the transition points become weak as too many incidents take place one after the other. Sachin Bhaumick, Farukh Dhondy and Margaret Glover along with Ghai himself take the pain to weave a love story in the British era. But to create a fiction in period is not that easy. If writers fail in getting the scenes right, it is direction and frame-making that gets mixed responses from the viewers.
Technically, 'Kisna' is a brilliant attempt and can compete with any Hollywood film of date thanks to cinematography of legendry Ashok Mehta. Mehta's camera displays the scenic beauty of Uttranchal on the screen. The Ganges is canned very beautifully, and Vivek shows his skills on the back of a horse. These are few things to watch. Stunt director Tinu Verma has very aptly handled the duel scenes. Seeing swashbuckling Vivek Oberoi may not be a treat to the eyes but what makes an impact is the way these scenes are picturized. Music is another point where 'Kisna' scores passing marks in general. The theme song is very melodious.
The biggest drawback of 'Kisna' is to cast Vivek Oberoi in the lead role. He doesn't fit the bill at all. The character required a soft look with brave heart but Vivek turns out to be of a poor look and confused heart. Scenes where Vivek is required to emote a lot are in plenty. But he fails in handling such situations. Isha Sharvani gets full marks for her debut role though she does not get ample footage to do justice. British actress Antonia Bernath is a surprise for many. She carries her character with grace and finesse required for such a role, and 'Kisna' could be her takeoff for international cinema.
Subhash Ghai has also faltered in making his senior actors make an impact on the narration. 'Kisna' is Amrish Puri's last film as he departed only a few days back. But not many of his fans will like this role to be his last one. Yashpal Sharma is okay and so is Rajat Kapoor. On the whole, 'Kisna' will not be able to create ripples as expected This is a major heartbreak for fans of Subhash Ghai and more than that for the lovers of good cinema.
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