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LifeOLicious

IF-Sizzlerz

LifeOLicious

Joined: 06 May 2005

Posts: 11114

Posted: 19 November 2007 at 10:12pm | IP Logged

^Thanks Kruthi for the wonderful Banner! Big smile

Welcome to the 10th

Saawariya Fanclub

 

~ Her world was the wait for love. His was the wait for her love. And when the two met, what echoed was….Saawariya ~

Saawariya is a forthcoming Sanjay Leela Bhansali movie,  It stars newcomers Ranbir Kapoor son of Rishi and Neetu Kapoor, and Sonam Kapoor daughter of Anil Kapoor with special appearance/supporting roles by Salman Khan and Rani Mukherjee,the film's soundtrack has beeen composed by Monty, with lyrics by Sameer.

 

Here is the official website of the movie

http://www.saawariyafilm.com/

The Promos of the Movie

First Official Promo

http://www.youtube.com/watch?v=stmKeMVN804

Saawariya- Title Song

http://youtube.com/watch?v=ir51I0UGsCI

Masha Allah

http://youtube.com/watch?v=BcrXfYi6EZs

Yoon Shabnami

http://youtube.com/watch?v=iK5N1f8YxqE

Jabse Tere Naina

http://youtube.com/watch?v=TqUwmOwVJoQ

Dialogue Promo

http://www.youtube.com/watch?v=ceJi0yQeq18

O Re Chabeela

http://uk.youtube.com/watch?v=b-ZCV14e7EA&NR=1

 

Our Wonderful Member list

(Sonam and Ranbir at the Saawariya Premiere)

Lennie

luv_huda

cool_subha2006

Angadz

brunobufoni

pinky no1

Rinkalp90

misselegent

raiinie

friskysam

Tiya_I

siumi

AbhiTulsi

cutykoo20

live_life

kaira

atlast14

Raj*

dazzlingdesi (Rashi)

crazymystery

eijaz_lover

rushvi99

tpam (Amuu)

titli_yuvi

Jaseeka

nkapoor

anvesha rulz

~*~sabz~*~

shefali_123

fizzwizz (Fary)

dreamgrl

CINDRELLA

Henna042

Day_Dreamer

rah_akki

living.doll

allure*

Uudee

tangina r

rani_v12

jinc118

rajeev_amnafan1

karol

starbellz_21

premanoj

maya_afreen (Maya)

 np-rox (Ashi )

nitica_82 (Niti)

*Kruthi* (Kru)

**Sanchita**

.:Ashi:.

laksh_ktfan

zanga

~Poonam~

smarie pants

Anusha

admail_bd (Aditi)

angel'sprincess

ainun

desi_baby07

donthavealife

komalash

Pentaminous

kritika k

rajeevzluvr

Rusul

sia<3

Tani91

coolsonu

srk_lover (Megha)

*~Anjali~*

sanaayuvi

*mansibhatia*

mz.jess (Jessi)

wierdo287

Iloveapu

desigrl27

xxS.Dxx

.::Kittu::.

zaara.khan

Nats

RanbirSonam

*laddu*

Innocent Ishita

skyblu (Pia)

sweta0193

neha_bbsr2005

parleen.sui_rul

Bubbly_Shelly

miss honest ( Hoor )

beckytower

angelic eyes

-Ouma *n* Eijaz-

Pretty_gurl_14

iram_16

starsgo

 

 The links to the previous fanclubs

FC 1: http://www.india-forums.com/forum_posts.asp?TID=714726&T PN=1 PN=1

FC 2 : http://www.india-forums.com/forum_posts.asp?TID=755508 

FC 3: http://india-forums.com/forum_posts.asp?TID=767386

FC 4: http://www.india-forums.com/forum_posts.asp?TID=771696&T PN=1

  FC 5 http://www.india-forums.com/forum_posts.asp?TID=778064&T PN=1

FC 6 :http://www.india-forums.com/forum_posts.asp?TID=780721


FC 7:  http://india-forums.com/forum_posts.asp?TID=783422&TPN=1

FC 8 :   http://www.india-forums.com/forum_posts.asp?TID=786075&T PN=1

FC 9: http://www.india-forums.com/forum_posts.asp?TID=789451 

Messages for Sonam and Ranbir!

http://www.india-forums.com/forum_posts.asp?TID=781375

 

(new) Want to Read The MOvie Reviews?

http://www.india-forums.com/forum_posts.asp?TID=781721

 

 

Go Catch it at a Theatre near you

NOW

 

Or else face us!

LOL

 




Edited by admail_bd - 19 November 2007 at 10:14pm

The following 1 member(s) liked the above post:

saiem malik

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LifeOLicious

IF-Sizzlerz

LifeOLicious

Joined: 06 May 2005

Posts: 11114

Posted: 19 November 2007 at 10:15pm | IP Logged

I finally watched Saawariya and here's my take on it.

Author:  Maya_M (Maya); Posted: 19 November 2007

Spoiler Ahead

-------------------------------------------------

"My nights came to an end with a morning. The weather was dreadful. It was pouring, and the rain kept beating dismally against my windowpanes".

I am a big fan of Raj Kapoor's movie making school esp. his Black and White films. He had to change his style for Bobby after the debacle of Mera Naam Joker but still gave it a nice and fresh treatment. But that was last. That is the only color film of his I liked. But his B/W films are all work of art. The feelings generated by lead characters are not always unswerving. There is depth in each character and most of them are grey just as in real life. Raj Kapoor was inspired by Russian writers and his movies had that vagabond characters found in many Russian plays and novels. That could be the reason for Russians fondness of Raj Kapoor even now. There are cafes where they still play one Raj Kapoor film every weekend and sing songs from his films (courtesy: my cousin who lived there). SLB must showcase his masterpiece there because I am sure he will find the same appreciation.

Now you must be wondering why I am talking about Raj Kapoor to this extend here. The reason is SLB is heavily inspired by Raj Kapoor's style of film making in Saawariya which he himself accepted and does full justice to it. The characters reminded me of innocence unleashed by Raj Kapoor and Nargis and their beautiful chemistry. The real human emotions are always grey and that is exactly what SLB's leads portray in this classic play. Ranbir Raj and Sakina are two loners and confused with their feelings. They are waiting for that one ray of sunlight which would change the direction of their life.

Where the critics went wrong:

Saawariya doesn't have a strong script. It flows like poetry; a poignant, romantic poetry. Most critics judged the film like a regular film and looked for a strong script so they failed. The whole film is like a heartrending poetry and you get into the characters. There is a Ranbir Raj and Sakina in each one of us.

The setting:

White Nights is a phenomenon which happens when sun doesn't go under the sphere deep enough for the sky to get dark because of high latitude. So the night is as bright as day in the months of June- July. So the nights are a very active time of those two months. Since such a phenomenon is impossible in India, the setting is made to suit Indian palette. The full of life nights are revealed through the character of Gulabji and her friends. The old Venice look and Bluish-Green surrounding portrays the misery before there is ray of light, the hope.

The verse and characters:

Gulab ji:  Gulab ji's character was inspired by Rakhi Sawant. She is the story teller.

Ranbir Raj: Ranbir Raj displayed innocence when he asked for milk at a bar. He sounded just like Rishi Kapoor in the first scene. The vagabond character reminded me of Raj Kapoor.

Lillipop: Her character was inspired by Lalita Powar's anglo-Indian character in RK's Shri 420.

Sakina: She played the most confused character. She was a child one moment and a woman full of passion the very next moment. She shifted between the emotions with ease and that is why she laughed and cried for no reason.

Imaan: He hardly spoke but his eyes were so intense and conveyed the love and care he had for his love very well.

What and why?:

Keeping the basic plot and white nights aside, I was wondering if we could have a different take on the story. Is it possible that the whole story was a fiction created by lonely Gulabji where she liberated herself as Sakina?

Is it possible that Imaan never existed? It was Sakina's ray of hope but the reality is she can never leave her grandmother so she enjoyed the moments with Ranbir Raj and then returned to her life filled with sorrow so that Ranbir Raj can move on.

When was the story set? Mugal-E-Azam was released in the 60s so the story is set in post-independence era. Then what was that coin Imaan gave to Sakina? It looked like an old silver coin. There were also rupees from new era.

Why were there more prostitutes than regular denizens? Was prostitute symbolic of the bright (active) night where the story was set?

What would the story be, had Ranbir delivered the letter to Imaan and latter could see the same zeal for Sakina in Ranbir's eyes? Could he have sacrificed?

LifeOLicious

IF-Sizzlerz

LifeOLicious

Joined: 06 May 2005

Posts: 11114

Posted: 19 November 2007 at 10:15pm | IP Logged
Booked!

shaila_07

Senior Member

shaila_07

Joined: 24 October 2007

Posts: 315

Posted: 20 November 2007 at 2:08am | IP Logged
***an audience review***http://www.sandyi.blogspot.com/***

Having read Fyodor Dostoevsky's White Nights, I thought seeing Saawariya from a literary perspective might be an addition to the varied reviews we've had on the film.
I've noted below a few points that occurred to me when I saw the film earlier this week.

It's not difficult to see why Bhansali was enamoured by Dostoevsky and White Nights. Given that the latter's writings are generally characterized by an emotional frenzy, a nervous excitability where words seem to tumble on to each other, Bhansali possibly felt a kindred spirit with the Russian litterateur.
Additionally, White Nights deals at least partially with the theme of love and separation ie virah, the filmmaker's favourite rasa (among the nav-rasas), one that runs prominently in at least two of the filmmaker's previous works.

The problem with Saawariya is not that it is badly made film. No, not by a far stretch. Compared to the obscenely overrated Black, this one comes nowhere close to being the hammy, pretentious film that some self-assured reviews are making it out to be. If anything, the filmmaker has doggedly stuck to Dostoevsky's vision, though one must hastily add that the latter's preoccupations are much larger than what Bhansali manages to convey cinematically.
Which is why, if the film disappoints in the end, it is less to do with the director's abilities (or lack of it) and more to do with making a questionable literary choice for screen adaptation.

Gulabo (a superlative Rani Mukherjee), as the frisky and warm-hearted prostitute and Miss Lolipop (Zohra Sehgal), as the forlorn landlady are two stock characters which are Bhansali's own creations —- they aren't present in the original. But thankfully, both these characters work faithfully at projecting further Dostoevsky's profound theme of the alienation of the human soul and the yearning for love. So in that sense, Bhansali does not stray while attempting to flesh out White Nights, a novella which doesn't try to offer much in terms of story and primarily works on a certain abstract level only.

Dostoevsky's idea through the story is a deeply affecting one, one that alludes to the loneliness of mankind— the horrific silences that descend upon us once noises around die down, the romantic spirit's desperate urge to find love and then to hold on to it, even if it is a delusional one. Or weaving dreams around it and then desperately hoping it will turn true. Oh, haven't we all gone through this!
The author's setting is a simple one, entirely a two-character narrative with the boy and girl sitting together and pouring out their feelings in the comfort of a night and a stranger. The recounting comes close to being a stream-of-consciousness one, managing to wrench out a great deal of emotional intensity as it proceeds.
Dostoevsky's story is anything by a plot-driven one. What he conveys among other things is an idea of chronic romanticism, and this he does effectively within a small literary scale. The narrative itself is quite verbose, the sentences are long-winding and there's hardly any action happening here. It touches some very high emotional peaks but there very few external conflicts.

Now, this is exactly where Bhansali's problem lies. A short story, by its very nature has a distinct trajectory, one that can be quite unidimensional without too many plot points. Also, my understanding is that not all short stories can be treated in a stand-alone manner, because most of them are just nuggets intricately tied to the author's extended theme spread across his works.

This is fine when one is making a film like The Blue Umbrella (derived from Ruskin Bond's short story),which is mounted on a relatively smaller scale. (In any case, The Blue Umbrella covers a larger physical spectrum than Saawariya).
But here, the story is so thinly laid, it is almost slight, but that doesn't stop Bhansali from giving his film a grand operatic treatment or creating enough room for himself to satiate his artistic indulges.
The problem here is that the film severely lacks in action and mere artistic showmanship was never going to enable it to touch the pathos or emotional intensity of White Nights. Taking an idea is one thing but adapting a literary piece of work without grasping the limitations it poses for a cinematic adaptation, is quite another.
For example Metro deals with almost the same ideas in many ways but it handles the theme in its own contemporary manner, which is why it succeeds inin engaging an audience.

Yet, Saawariya is worth a watch, given that Bhansali makes it a visually sumptuous experience and his handling of the story (whatever its worth), is mature. There are some huge pluses to take home from the film. Ranbir is quite candidly, the find of the decade. Along with Rani Mukherjee, Ranbir delivers a knock-out performance in a film that offers him very little support in terms of script. Sonam is one of the prettiest girls I've seen on screen in a while now but she does have a long way to go as an actress.
Rani is, well, Rani. The screenplay throbs back to life each time she appears. And was it just me, but I thought she greatly resembled Sharmila Tagore here.

Finally Saawariya is a film, which I suspect, will age quite well inspite of its languorous pace and a non-existent plot (Some portions are a big yawn!)
Also, there is something in Ranbir's character that captures beautifully the spirit of Dostoevsky and for that alone, Saawariya, is watchable.

-Sandhya Iyer

shaila_07

Senior Member

shaila_07

Joined: 24 October 2007

Posts: 315

Posted: 20 November 2007 at 2:49am | IP Logged
Saawariya is sheer poetry
Sreesha Belakvaadi
November 14, 2007 13:04 IST

It is very easy for anyone to miss the strengths of Saawariya. I am aware that most of the reviews are negative, which is fair enough as everyone is entitled to their opinion. And here is mine.
The first and the foremost important factor to understand about Saawariya is that it is not a movie with a story; it doesn't carry a definite structure like prose. It is sheer poetry, and with poetry, abstractness becomes all the more personified. Poems cannot be judged, they can only be felt. It's like seeing a rosebud bloom into a rose.
And judging poetry as prose is a gross mistake; and this is precisely what happened with Saawariya. Reviewers or the so-called connoisseurs are not able to see the poetic nature of the Saawariya, which I think is the very pivot on which the movie has been made. Unfortunately, the visual-poem is over-shadowed partly due to lack of understanding art and partly due to unwarranted comparison with Om Shanti Om.
Saawariya doesn't have a strong subject; it has a very ordinary storyline. And yes, direction is not strong enough to carry the emotions to the common man. However, one can watch Saawariya in an altogether different dimension, which was what I did. The visuals are so poetic and painting-like, that I am sure an artist would melt witnessing the shades of blue and green in the film.
In fact, the movie gives you a feel of the musicals -- like a poem sung and expressed through the medium of flamboyant sets and paintings. There is an innate subconscious soul to the entire movie -- the soothing bluish-green tints and neon lights, the lovers' bridge around which all emotions are poured and the poetic surrealism of the paradise like city having tones of ancient Venice.
Omung Kumar, who worked on the sets deserves applause. If not for him, Saawariya would have been the worst film of the year. Omung has taken a quantum leap in creating a city that has the feel of extreme surrealism, completely unconventional to what we have seen before, extravagantly rich in aesthetics, vividly blended with shades of grey and bluish green.
Mellow lighting infiltrates throughout the city through streamers, blinkers and vintage-styled lamp posts. The statue of a magnanimously etched Buddha illuminated with natural fire-sticks and diyas takes a central recognition amidst several intricate objects of art that encapsulate the magical city. The entire movie is shot in darkness to give it a dreamy and mesmerising effect. The character of Rani Mukerji as a call girl only personifies the night-feel and gives strength to the overall soothing dream the audience can witness. Monty's musical score too adds to the whole mesmerising experience.
There are many noteworthy scenes from the film. For example, the one where Ranbir Kapoor and Sonam Kapoor are floating in love and ecstasy below the mammoth statue of Buddha. Cinematographer Ravi K Chandran cuts this situation through the top shot of Buddha, and for a moment you are lost in that world.
Then there is a wide-angle shot of the city at night where Ranbir introduces Sonam to look at the melting silence of the night. A train hoots with smoke billowing from its chimney, and that is indeed a classic shot.
But the one which launches you into a world of absolute bliss is the scene where an emotional Sonam is seen running through the dark alleys of the magical kingdom with bluish-green pebble lights flashing around the corners. The music is so powerful, that for a moment it forces you to change the opinion of the whole film to be a classic of its own kind. Then the camera dissolves, fades and cuts to the semi-lit caves literally floating.
To sum up, Omung Kumar, Monty and Ravi K Chandran are the real pillars of Saawariya. As for Sanjay Leela Bhansali, he deserves to be neglected.

http://www.rediff.com/movies/2007/nov/14rrsaa.htm

shaila_07

Senior Member

shaila_07

Joined: 24 October 2007

Posts: 315

Posted: 20 November 2007 at 3:30am | IP Logged
faint faint faintEmbarrassed

*Jaya*

IF-Sizzlerz

*Jaya*

Joined: 27 October 2005

Posts: 11783

Posted: 20 November 2007 at 4:11am | IP Logged
I watched Saawariya on the very first day it was released and I just loved it...

I have read many saying that people did not get what they expected from the movie... Question is - what did people expect? Didnt the promos give a good enough indication that the movie was more like a series of paintings on celluloid that would be left to interpretations? Didnt the promos have enough evidence that the movie is about 2 central characters and a very unique relationship that they share? Wasnt the pace of the movie very well indicated in the promos?

To me as a viewer - it had indicated all of this and more, and when I walked out of the theatre - the dream seemed to continue with me... The characters walked out and kept growing within as days progressed... I thought SLB made a very open ended movie and he wanted his audiences to define Raj and Sakina as they wanted.. and that is precisely we have done... I personally think that where it failed to strike a chord with the 'critics' was that they were not open to this open-ended movie.. They went in with the mindset of Devdas where the characters were defined more than necessary and one did not have to think to understand or interpret anything.. Everything was structured to the core and served on a platter to the viewers... So probably the 'Devdas' mindset is what upset them... The fact that the movie also ended up getting released on the same day as another entirely different movie and drew a lot of pre-release rivalry hype also led to some absurd comparison, which should have never happened in the first place... The 2 movies are entirely different - so how do they even compete, on what grounds? I think it was not right both for SLB or Red Chillies to even pitch their movies against each other - had they not done that, I believe that both the movies had even done better...

So what was there in Saawariya that I loved? I think - as many have stated here before.. its the poetic depth and the cinematic serenity and innocence that was very very fresh and has been missed in Hindi cinema for a long long time... Even when Ghulab'ji in her very first statement says that such a town does not exist anywhere, thats the first question that the likes of Taran Adarsh ask - Where is this story based out of? Cant we accept something with an open mind and just flow with the movie?

To me - Ranbir and Sakina represented Optimism and Pessimism through their characters... I also tended to think that they werent characters that really existed and the story was Ghulabji's fantasy... Sakina was perhaps an indication of what she was going through... Sakina's safety-pin lock with her badi ammi was actually Ghulab'jis forced bond with prostitution... Sakina was perhaps the 'pari' that the likes of Ghulab'ji always wanted to be... but then did not have the choice... Her saawariya as Imaan was that ultimate hope that she lived for.. for whom she waited.. for whom she perhaps knew that it was elusive, it was just a dream that she had lived and was now waiting for her realisation... And then there was Ranbir Raj - again Ghulab'jis interpretation of her 'Krishna'... the eternal optimist, who was like the magician who could solve all the problems, who could raise a smile for anyone.. be it Ghulab'ji and her folks... be it the loner Lilipop who had waited for Vincent eternally.. or be it Sakina... We dont know what he does, but we all know what he can do.. he is a magician, who can make people dream.. he can instill hope and life amongst one and all... Even Sakina can find solace in his company and does forget her pining for Imaan momentarily... He is Ghulabji's ultimate dream man.... In fact I felt, that when Sakina goes on to sing 'Mera Imaan, meri shaan, mera maan ho tum' or 'haan magar yeh bhi sach hai, mere bhagwaan ho tum'... Its is what Ghulab'ji feels for that dream... It takes the form of Ranbir Raj at one moment, it does take the form of both Ranbir and Imaan for Sakina (Ghulabjis other self) at the other

But dreams do not continue for ever... And hence the ending of the movie as it was... I thought Sakina's going away with Imaan was just a suggestion that she continues to live forever with her hope, just like Ghulab'ji keeps remembering her Saawariya... and the magic man - who is just on the mission to instill hope and happiness in everyone's life continues to do that... he boxes away his momentary sorrow and then vanishes, probably again to be seen in some other dream city, fighting for some other Sakina, raising a smile for some other Lilipop...

That was Saawariya for me... Open... Innocent... Dreamy and yet real... Laden with sorrow and yet hope... I am going to watch the movie again this weekend to dive deeper and understand more about it...

TheBlackJaguar

IF-Stunnerz

TheBlackJaguar

Joined: 15 January 2005

Posts: 47960

Posted: 20 November 2007 at 4:14am | IP Logged

Originally posted by *Jaya*

I watched Saawariya on the very first day it was released and I just loved it...

I have read many saying that people did not get what they expected from the movie... Question is - what did people expect? Didnt the promos give a good enough indication that the movie was more like a series of paintings on celluloid that would be left to interpretations? Didnt the promos have enough evidence that the movie is about 2 central characters and a very unique relationship that they share? Wasnt the pace of the movie very well indicated in the promos?

To me as a viewer - it had indicated all of this and more, and when I walked out of the theatre - the dream seemed to continue with me... The characters walked out and kept growing within as days progressed... I thought SLB made a very open ended movie and he wanted his audiences to define Raj and Sakina as they wanted.. and that is precisely we have done... I personally think that where it failed to strike a chord with the 'critics' was that they were not open to this open-ended movie.. They went in with the mindset of Devdas where the characters were defined more than necessary and one did not have to think to understand or interpret anything.. Everything was structured to the core and served on a platter to the viewers... So probably the 'Devdas' mindset is what upset them... The fact that the movie also ended up getting released on the same day as another entirely different movie and drew a lot of pre-release rivalry hype also led to some absurd comparison, which should have never happened in the first place... The 2 movies are entirely different - so how do they even compete, on what grounds? I think it was not right both for SLB or Red Chillies to even pitch their movies against each other - had they not done that, I believe that both the movies had even done better...

So what was there in Saawariya that I loved? I think - as many have stated here before.. its the poetic depth and the cinematic serenity and innocence that was very very fresh and has been missed in Hindi cinema for a long long time... Even when Ghulab'ji in her very first statement says that such a town does not exist anywhere, thats the first question that the likes of Taran Adarsh ask - Where is this story based out of? Cant we accept something with an open mind and just flow with the movie?

To me - Ranbir and Sakina represented Optimism and Pessimism through their characters... I also tended to think that they werent characters that really existed and the story was Ghulabji's fantasy... Sakina was perhaps an indication of what she was going through... Sakina's safety-pin lock with her badi ammi was actually Ghulab'jis forced bond with prostitution... Sakina was perhaps the 'pari' that the likes of Ghulab'ji always wanted to be... but then did not have the choice... Her saawariya as Imaan was that ultimate hope that she lived for.. for whom she waited.. for whom she perhaps knew that it was elusive, it was just a dream that she had lived and was now waiting for her realisation... And then there was Ranbir Raj - again Ghulab'jis interpretation of her 'Krishna'... the eternal optimist, who was like the magician who could solve all the problems, who could raise a smile for anyone.. be it Ghulab'ji and her folks... be it the loner Lilipop who had waited for Vincent eternally.. or be it Sakina... We dont know what he does, but we all know what he can do.. he is a magician, who can make people dream.. he can instill hope and life amongst one and all... Even Sakina can find solace in his company and does forget her pining for Imaan momentarily... He is Ghulabji's ultimate dream man.... In fact I felt, that when Sakina goes on to sing 'Mera Imaan, meri shaan, mera maan ho tum' or 'haan magar yeh bhi sach hai, mere bhagwaan ho tum'... Its is what Ghulab'ji feels for that dream... It takes the form of Ranbir Raj at one moment, it does take the form of both Ranbir and Imaan for Sakina (Ghulabjis other self) at the other

But dreams do not continue for ever... And hence the ending of the movie as it was... I thought Sakina's going away with Imaan was just a suggestion that she continues to live forever with her hope, just like Ghulab'ji keeps remembering her Saawariya... and the magic man - who is just on the mission to instill hope and happiness in everyone's life continues to do that... he boxes away his momentary sorrow and then vanishes, probably again to be seen in some other dream city, fighting for some other Sakina, raising a smile for some other Lilipop...

That was Saawariya for me... Open... Innocent... Dreamy and yet real... Laden with sorrow and yet hope... I am going to watch the movie again this weekend to dive deeper and understand more about it...

Clap.....very transparent and beautifully put.Embarrassed

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