Befikre is special since it's inception. Firstly, the manner Adi announced the film - a very touching letter to his deceased dad (late Yash Chopra); where he confessed the film might not make 100 crores, but this is the film he wants to make!
The big Q now - will Befikre strike a chord with the audience?
The film delves into the now familiar terrain of the urban youth - the dilemmas they face in the matters of love & relationships. Three films that I immediately recall - Cocktail, Ae Dil Hai Mushkil & Befikre - start with a casual make-out; leading to casual sex in the first and the last! All three had one common thread - the casual encounter turning into an emotional longing; the need of the female protagonist for an emotional anchor (hence the look of Vaani in the trailer, looks perfect in the film). The song, Je T'aime (I Love You); superlative lyrics by Jaideep Sahni; is the perfect emotional mooring in the film, used very deftly in the BGM. The picturization of both the
female & male version is simply outstanding!
The film establishes right in the opening scene that Shyra still has Dharam in her and Dharam still has a bit of Shyra left - so it is only natural they will meet in the end, but how?
Here, we have Shyra & Dharam indulging in casual sex, before they live-in and then, move apart; only to realize they love each other. What the film doesn't delve into - is it really love OR is it because girls & guys have subconscious liking for a partner, who indulges in wild sex - but hey, hang on this is an Indian film! So, like a typical Indian male, Dharam calls Shyra a ‘slut’, which hurts her the most; ought to, a man is a stud or a casanova; a girl 'slut'.. tch tch!
Later, of course, in a very poignant scene, Dharam apologies to Shyra, confesses that he wanted to stop her right then and say sorry, but couldn't! The scene proves direction can't ever be taught; it's a feeling that needs to be put on screen; camera tracks to Dharam as he apologizes; and then the track to Shyra's moist eyes on the interlude Je T'aime.. and then Shyra's dialogue, "Tu itna Bada Kabse Ho gaya.. ", sheer genius of Adi!
On the face of it the film is fun, frolic, frothy; but Adi never really let's go of the emotional connect; after a fleeting glimpse in the opening scene - Adi establishes it full-on with the stay on Shyra's face on the Pont des Arts bridge, as she is introduced as a tour guide, on the interlude of Je T'aime!
The big Q now - will Befikre strike a chord with the audience?
The film delves into the now familiar terrain of the urban youth - the dilemmas they face in the matters of love & relationships. Three films that I immediately recall - Cocktail, Ae Dil Hai Mushkil & Befikre - start with a casual make-out; leading to casual sex in the first and the last! All three had one common thread - the casual encounter turning into an emotional longing; the need of the female protagonist for an emotional anchor (hence the look of Vaani in the trailer, looks perfect in the film). The song, Je T'aime (I Love You); superlative lyrics by Jaideep Sahni; is the perfect emotional mooring in the film, used very deftly in the BGM. The picturization of both the
female & male version is simply outstanding!The film establishes right in the opening scene that Shyra still has Dharam in her and Dharam still has a bit of Shyra left - so it is only natural they will meet in the end, but how?
Here, we have Shyra & Dharam indulging in casual sex, before they live-in and then, move apart; only to realize they love each other. What the film doesn't delve into - is it really love OR is it because girls & guys have subconscious liking for a partner, who indulges in wild sex - but hey, hang on this is an Indian film! So, like a typical Indian male, Dharam calls Shyra a ‘slut’, which hurts her the most; ought to, a man is a stud or a casanova; a girl 'slut'.. tch tch!
Later, of course, in a very poignant scene, Dharam apologies to Shyra, confesses that he wanted to stop her right then and say sorry, but couldn't! The scene proves direction can't ever be taught; it's a feeling that needs to be put on screen; camera tracks to Dharam as he apologizes; and then the track to Shyra's moist eyes on the interlude Je T'aime.. and then Shyra's dialogue, "Tu itna Bada Kabse Ho gaya.. ", sheer genius of Adi!
On the face of it the film is fun, frolic, frothy; but Adi never really let's go of the emotional connect; after a fleeting glimpse in the opening scene - Adi establishes it full-on with the stay on Shyra's face on the Pont des Arts bridge, as she is introduced as a tour guide, on the interlude of Je T'aime!
Other scenes that bear the distinct Adi stamp
- the 'December 11' scene just before interval, as Shyra looks at Jazmine being proposed by her boyfriend; the look of Shyra says it all!
- Shyra telling Dharam, "Love mein kayee baar fail huyee hoon; shaadi mein nahin hona chahti.."
- the 'December 11' scene just before interval, as Shyra looks at Jazmine being proposed by her boyfriend; the look of Shyra says it all!
- Shyra telling Dharam, "Love mein kayee baar fail huyee hoon; shaadi mein nahin hona chahti.."
- And the last where she silently dares Dharam, "Agar dum hai to todh de (marriage), I dare you".
The very moments in cinema that sets a director apart from rest of directors!
Emotions are perfectly mixed with laughter - little add-ons can make a scene outstanding, late Manmohan Desai was a master at it; it is Adi's forte, as well. Dharam asks, when will I grow up? Shyra says, never. As the scene ends Shyra leaves, Dharam stays, dog barks (off-sound); Dharam runs for his life after Shyra!
Adi integrates the latest happenings in Paris beautifully in the script Pont des Arts lovelock bridge for one! The modern Indian values of an NRI family are cleverly balanced with the traditional Indian - two decades back - maa was supportive, paa was authoritative; today paa is mellowed down, accommodating; maa is there when needed - the parantha scene in the pre-climax. Paa, though disapproving, is fine with his daughter living-in; evolution of Indian Cinema!
On the flip side, the plot is wafer-thin; but it's the brilliant act by Vaani Kapoor & Ranveer Singh; the location & production design; the cinematography; Adi's deft direction - but most importantly the dialogues - huge applause for Adi & Sharat Kataria that keep you, mostly (yes there are flaws) entertained for 2hr 10m running time.
The humor is very chic, very urbane - many, in the TG won't understand it; the emotional connect is subtle, too subtle, for the traditional Indian audiences! Oh by the way, is the film at all for traditional Indian audiences with a 'full monty' shot of Ranveer's bare butt - yes the crack too! Did I hear girls drooling and paa's fuming?
Befikre, in the end, is so so atypical Bollywood - even the last scene is like jumping off the cliff, pun-intended - will draw diversely mixed reactions! There are flaws in the film - screenplay is inconsistent, some scenes are repetitive, the climax has the 'Houseful' franchise touch (the audience loved it, so Adi played perfect to the gallery) - but, as pointed earlier -
1. The act (Ranveer proves why he is the best and the revelation Vaani Kapoor is - just watch her dance moves in Nashe Si Chadh Gayee & the pre-wedding medley of Befikre tracks)
2. The locations, the production-design, the cinematography (fell in love with Paris all over again) and
3. The most important - dialogues, make you; critic for one, exclaim JE T'AIME
Emotions are perfectly mixed with laughter - little add-ons can make a scene outstanding, late Manmohan Desai was a master at it; it is Adi's forte, as well. Dharam asks, when will I grow up? Shyra says, never. As the scene ends Shyra leaves, Dharam stays, dog barks (off-sound); Dharam runs for his life after Shyra!
Adi integrates the latest happenings in Paris beautifully in the script Pont des Arts lovelock bridge for one! The modern Indian values of an NRI family are cleverly balanced with the traditional Indian - two decades back - maa was supportive, paa was authoritative; today paa is mellowed down, accommodating; maa is there when needed - the parantha scene in the pre-climax. Paa, though disapproving, is fine with his daughter living-in; evolution of Indian Cinema!
On the flip side, the plot is wafer-thin; but it's the brilliant act by Vaani Kapoor & Ranveer Singh; the location & production design; the cinematography; Adi's deft direction - but most importantly the dialogues - huge applause for Adi & Sharat Kataria that keep you, mostly (yes there are flaws) entertained for 2hr 10m running time.
The humor is very chic, very urbane - many, in the TG won't understand it; the emotional connect is subtle, too subtle, for the traditional Indian audiences! Oh by the way, is the film at all for traditional Indian audiences with a 'full monty' shot of Ranveer's bare butt - yes the crack too! Did I hear girls drooling and paa's fuming?
Befikre, in the end, is so so atypical Bollywood - even the last scene is like jumping off the cliff, pun-intended - will draw diversely mixed reactions! There are flaws in the film - screenplay is inconsistent, some scenes are repetitive, the climax has the 'Houseful' franchise touch (the audience loved it, so Adi played perfect to the gallery) - but, as pointed earlier -
1. The act (Ranveer proves why he is the best and the revelation Vaani Kapoor is - just watch her dance moves in Nashe Si Chadh Gayee & the pre-wedding medley of Befikre tracks)
2. The locations, the production-design, the cinematography (fell in love with Paris all over again) and
3. The most important - dialogues, make you; critic for one, exclaim JE T'AIME
- Amit Kumar Agarwal
