Home Doll industry A dazzling tribute to the brilliant India-Entertainment News, Firstpost

A dazzling tribute to the brilliant India-Entertainment News, Firstpost

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Deepika Padukone was the first choice for the role of leading lady. However, she pulled out with the excuse of age-old dates. It was then that Salman suggested Sonam to Sooraj. But would she fit into his Sanskari plan?

“Oh, I can be as karrreeee-free as possible,” Sonam assured the skeptical Sooraj. Sonam stepped into her best ghagra-choli ensemble to impress her future hero and director. Bagging a Sooraj Barajatya movie at this point in his career meant taking his stardom to the next level. And that helped everyone connected with the movie, except for the most demanding part of the audience who felt Prem Ratan Dhan Payo it was too much Raja Aur Runk be food for thought.

Prem Ratan Dhan Payo is a feast for the senses. It is well put together and the regal decors are much less garish than the flashy dollhouse accessories of Hmm…Aapke Hain Koun and Hmm.. Saath Saath Hain. Prem Ratan Dhan Payo was a dazzling homage to Shining India. Age-old Sanskriti and Sanskaar meet new age values ​​and vintage cars. The shock is not as deep as it is thrilling and provocative.

Significantly, there are two Salman Khans, his first dual role since Judwaa, signifying the conflicting split personalities in modern India. Visually, the film marks greater grandeur than any of Sooraj’s previous films. All credit goes to Cinematographer V Manikandan and Art Director Nitin Chandrakant Desai for creating a world loaded with opulence and yet tied to a culture that every Indian can relate to. In this way, Barjatya gives us the best of both worlds.

Prem Ratan Dhan Payo is a fable about the aspirations of modern India as well as a fairy tale where the ‘poor’ can switch places with the ‘prince’ to experience what it feels like to be on the other side of the line of wealth . The concept of split personality is inspired by movies like Raja Aur Runk, Sawan Bhadow and Yakeen.

The hummable songs are shot like a dream with the actors waltzing in a streamlined chorus reminiscent of the spirited bravado of Broadway musicals rather than Hmm… Aapke Hain KounAlthough colorful and eye-catching, the frames aren’t overly saturated or kitsch. In fact, the Sanjay Bhansali school of great aesthetics is on full display here. This does not mean that Barjatya copied Bhansali, not at all. But the glorious whirlwind of color, music and drama comes largely from the Mehboob Khan, V Shantaram, Bhansali film school.

As for Salman, for those wondering if he would be able to capture Prem’s innocence in Barjatya’s Hmm… Aapke Hain Koun and Hmm…. Saath Saath Hain The answer is yes ! Salman’s eyes convey an endearing innocence. With Bajrangi Bhaijaan and Prem Ratan Dhan Payo Salman found the actor in himself. Hold on to that thought.

Salman’s growth as an actor is evident in how he created two distinct personalities for his dual role. Even the language of the eyes of the two characters is different. The action scenes are well staged, although I could feel Barjatya’s clumsiness in performing stunts as much as I could feel Sonam’s hesitation in dancing.

Sooraj fully masters its vast cast and the large scale of the work. There are no dheela-dhaala moments. The film is very saffron in color and mood flavor. After Bajrangi Bhaijaan, this is another attempt by Salman to show how religion, mythology and culture can be positively implemented in cinema without propagating any ideology. The film swirls and dances in the colors of tradition and gaiety. There is a lot of liveliness in the songs and the romantic scenes.

Salman and Sooraj seem to have discovered a funny element in their on-screen relationship

The opulence is constant…this is not a hinterland for the poor. It’s Prime Minister Narendra Modiji’s Shining India with a little extra sparkle, but thankfully no bling. What stands out very strongly is Sooraj Barjatya’s faith in family values.

Barjatya displays more control over the highly melodramatic material than his previous films where everyone from Jayshree T to Huma Khan pounded until their jaws hurt. He comes out of bloated studio sets. The scales of grandeur here are much more proportionate and believable than in his earlier films where 12 to 14 characters walked in and out of gigantic sets representing well-to-do living rooms. The characters here move in believable richness. There’s an enduring and endearing magic to the Sooraj-Salman combo. When do they meet next?

Subhash K Jha is a Patna-based film critic who has written about Bollywood long enough to know the industry inside out. He tweets at @SubhashK_Jha.

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