SHAMITABH is an appreciable attempt of penning a "love letter" to cinema with several anecdotes - both anonymous and known - in a semi-hilarious fashion. The letter does romanticize and speaks of a myriad of emotions and heart-felt moments but culminates in such an odd, abrupt manner that somewhere it disheartens viewers.
The direction and screen writing by R. Balki seem original. A mute, small-town bus-conductor, Daanish, with the ambition of making it big in the Hindi Film Industry. While bumping into an Assistant Director, Akshara, in the film-studios who finds his pantomime-talent worth a bigger shot but fails to find him a role due his lack of voice. By a serendipitous medical boon, where by "live voice transfer technology" a mute person could speak, though through someone else's voice. A suitable voice for Daanish is found in Amitabh Sinha, who is (ironically) a failed actor with the voice-of-gold, allowing him to carve a niche for himself in a short-while. What follows is a trail of ups and downs of ego-clashes among 'Shamitabh', who learn to play it along eventually unless, alas, tragedy strikes.
The screenplay is treated well on an average with smartly put, allusive moments of nostalgia (including of Amitabh Bachchan himself), though, during the second-half of the film it seems as if Balki lost his way and thus, turned the tale into an abrupt "cataclysmic lull" and the worst of all – "oblivion" for the survivor. It does add sensitivity but unfortunately, it also adds unappealing abhorrence to a potentially impressive storyline and production. An upcoming film-maker recently mentioned in her review that this film would have been much better treated had it been directed by Gauri Shinde ("English-Vinglish") thereby, having much smoother transitions and thus, a more palpable effect.
The casting seems aptly done. Akshara is a débutante, and that speaks sufficiently about her – full of energy, and falling short of emoting effectively. By and by, she improves during the course of the film however, being tomboyish and childlike adorable. She has miles to go hereafter.
Music by Iliayaraaja has a touch of carnatic, but is very cinematic. However, just two tracks stands out of the other deliberate ones – "Ishq-e-Fillum", which defines the undying spirit and the involvement of films in a common man's life; brilliantly lyricised by Swanand Kirkire and vocalized by Suraj Jagan, this track takes the film to its peak moments of "larger than life" significance; and, "Piddly si Baatein" is hilarious, depicting the absurdity-levels of modern-day comic inclusions in films. However, the real-miracle is the film's Sound Design by Dileep Subramanian ("Jab We Met, My Name is Khan, Rockstar"), adding much credence to its events.
Finally, to derive from Satyajit Ray, "Last, but not least -- in fact, this is most important -- you need a happy ending. However, if you can create tragic situations and jerk a few tears before the happy ending, it will work much better." Alas, in this film it happened the other way round, thus the displeasure. Nevertheless, SHAMITABH could be enjoyed and perhaps forgiven by the ardent aficionados of motion picture.
Rating – 6.5/10. Verdict – Watchable, with emotional discomfort.
The direction and screen writing by R. Balki seem original. A mute, small-town bus-conductor, Daanish, with the ambition of making it big in the Hindi Film Industry. While bumping into an Assistant Director, Akshara, in the film-studios who finds his pantomime-talent worth a bigger shot but fails to find him a role due his lack of voice. By a serendipitous medical boon, where by "live voice transfer technology" a mute person could speak, though through someone else's voice. A suitable voice for Daanish is found in Amitabh Sinha, who is (ironically) a failed actor with the voice-of-gold, allowing him to carve a niche for himself in a short-while. What follows is a trail of ups and downs of ego-clashes among 'Shamitabh', who learn to play it along eventually unless, alas, tragedy strikes.
The screenplay is treated well on an average with smartly put, allusive moments of nostalgia (including of Amitabh Bachchan himself), though, during the second-half of the film it seems as if Balki lost his way and thus, turned the tale into an abrupt "cataclysmic lull" and the worst of all – "oblivion" for the survivor. It does add sensitivity but unfortunately, it also adds unappealing abhorrence to a potentially impressive storyline and production. An upcoming film-maker recently mentioned in her review that this film would have been much better treated had it been directed by Gauri Shinde ("English-Vinglish") thereby, having much smoother transitions and thus, a more palpable effect.
The casting seems aptly done. Akshara is a débutante, and that speaks sufficiently about her – full of energy, and falling short of emoting effectively. By and by, she improves during the course of the film however, being tomboyish and childlike adorable. She has miles to go hereafter.
Music by Iliayaraaja has a touch of carnatic, but is very cinematic. However, just two tracks stands out of the other deliberate ones – "Ishq-e-Fillum", which defines the undying spirit and the involvement of films in a common man's life; brilliantly lyricised by Swanand Kirkire and vocalized by Suraj Jagan, this track takes the film to its peak moments of "larger than life" significance; and, "Piddly si Baatein" is hilarious, depicting the absurdity-levels of modern-day comic inclusions in films. However, the real-miracle is the film's Sound Design by Dileep Subramanian ("Jab We Met, My Name is Khan, Rockstar"), adding much credence to its events.
Finally, to derive from Satyajit Ray, "Last, but not least -- in fact, this is most important -- you need a happy ending. However, if you can create tragic situations and jerk a few tears before the happy ending, it will work much better." Alas, in this film it happened the other way round, thus the displeasure. Nevertheless, SHAMITABH could be enjoyed and perhaps forgiven by the ardent aficionados of motion picture.
Rating – 6.5/10. Verdict – Watchable, with emotional discomfort.