3 stars
Bollywood is brimful of jingoistic dramas. But never does in the history of Hindi cinema has released a movie against the backdrop of war that is resolutely 'anti-war' with partition as its crux. Donning the director's hat for the very first time, Vijay Raaz -- a name synonymous with side-splitting roles -- has come up with a simple human drama that is relevant, makes no political statement, talks about peace yet is not preachy and fuses sensitivity with angst and melodrama skillfully.
Kya Dilli Kya Lahore is a satire on Indo-Pak relationship that kicks off with Jawaharlal Nehru's famous Tryst with Destiny speech. Set at a time (1948) when the partition massacre happened and lines were drawn between India and Pakistan that reeked of fresh blood, a cross-fire erupts at an isolated stretch of Indo-Pak border, leaving only two soldiers alive. One is an Indian soldier of Pakistani origin, Samarth Pratap Shastri (Manu Rishi) -- a cook attached to an Indian army unit posted at the border -- while the other is a Pakistani soldier of Indian origin, Rehmat Ali (Vijay Raaz). A Pakistani Captain (Vishwajeet Pradhan) sends Rehmat to find the map showing details of the tunnel being built from Red Fort (Delhi) to Lahore, fearing that the Indians might attack Lahore. In an attempt to evade danger, they bump into each other and amidst continuous exchange of bullets, altercations and murkier situations, an ironic story of fake pride and survival begins which evolves into a journey of human connection with an unforeseeable end where Rehmat and Samarth are subjected to humiliation as they become 'refugees' in their new homelands.
Aseem Arora's story/screenplay delves into several sensitive subjects regarding one of India's most traumatic and conflict-filled periods, but at the same time, highlights the unlikely friendships that performed amidst all the hatred and violence. A film with just four faces packs a solid punch with the message that humanity is bigger than any religion or any country. Maestro writer/lyricist Gulzar's poetic prologue not only enthrals the viewers but is also soul-stirring. The highpoint of the enterprise is Raaz & Rishi's satirical bickering over which side ditched whom and who is responsible for the massacre -- with Vijay & Manu recollecting their childhood in Delhi & Lahore respectively and getting emotional -- binds the two deracinated souls and warms up into a heart-rending tale. The poignant dialogues (Manu Rishi Chadha) peppered with Urdu-Punjabi-Hindi poetry suggestive of partition agony, carry the heart-rending weight of the film consummately. The letter-reading scene during the penultimate moments is tear-jerking. The physical pain and emotional trauma of the soldiers inflicted by partition are competently depicted. Debutant director Vijay Raaz deserves a pat on his back for staying firmly focused on his post-partition story and executing it sensitively, though in the same location throughout with a dilapidating log cabin in the middle (production designer: Aman Vidhate) giving the desired feel of the aftermath of war. Raaj Chakravarti cinematographs the gist of post-partition human drama with flair. The background score and music (Sandesh Shandilya) equally compliment the ongoings & uplift the mood at every single juncture. Nandita Sahu's costumes are in sync and aptly exhibit a dark humour-in-uniform, teetotally. The climax too, is moving to the core.
On the flip side, the story feels a tad long (editing: Archit Rastogi) as some scenes are stretched unnecessarily in parts. The pacing is slow... very slow, in fact! Some situations and arguments are nonsensical to the hilt.
Kudos to Vijay Raaz's versatility for making his acting credible and direction incredible! Phenomenal!
Manu Rishi is a scene-stealer unquestionably! The way he utters his dialogues deserves tremendous commendation. Long way to go man!
Rajendranath Zutshi is naturally perfect in a short cameo appearing as Barfi Singh, a postman working for the Indian army. Watch out for him in the scene when Vijay Raaz is captive in his hands and he tells him, "Abe, Hindustani auzaar se ijjat se baat kar. Bol penchkasji maaf kar dein!"
Vishwajeet Pradhan lends able support.
To sum up, KYA DILLI KYA LAHORE has its heart & mind at the right place with terrific performances and a truly disturbing climax leaving a long lasting impact. Give this one a shot for the honest attempt if you are a connoisseur of meaningful cinema!
first appeared on http://www.desimartini.com/movies/kya-dilli-kya-lahore/md3383.htm
Bollywood is brimful of jingoistic dramas. But never does in the history of Hindi cinema has released a movie against the backdrop of war that is resolutely 'anti-war' with partition as its crux. Donning the director's hat for the very first time, Vijay Raaz -- a name synonymous with side-splitting roles -- has come up with a simple human drama that is relevant, makes no political statement, talks about peace yet is not preachy and fuses sensitivity with angst and melodrama skillfully.
Kya Dilli Kya Lahore is a satire on Indo-Pak relationship that kicks off with Jawaharlal Nehru's famous Tryst with Destiny speech. Set at a time (1948) when the partition massacre happened and lines were drawn between India and Pakistan that reeked of fresh blood, a cross-fire erupts at an isolated stretch of Indo-Pak border, leaving only two soldiers alive. One is an Indian soldier of Pakistani origin, Samarth Pratap Shastri (Manu Rishi) -- a cook attached to an Indian army unit posted at the border -- while the other is a Pakistani soldier of Indian origin, Rehmat Ali (Vijay Raaz). A Pakistani Captain (Vishwajeet Pradhan) sends Rehmat to find the map showing details of the tunnel being built from Red Fort (Delhi) to Lahore, fearing that the Indians might attack Lahore. In an attempt to evade danger, they bump into each other and amidst continuous exchange of bullets, altercations and murkier situations, an ironic story of fake pride and survival begins which evolves into a journey of human connection with an unforeseeable end where Rehmat and Samarth are subjected to humiliation as they become 'refugees' in their new homelands.
Aseem Arora's story/screenplay delves into several sensitive subjects regarding one of India's most traumatic and conflict-filled periods, but at the same time, highlights the unlikely friendships that performed amidst all the hatred and violence. A film with just four faces packs a solid punch with the message that humanity is bigger than any religion or any country. Maestro writer/lyricist Gulzar's poetic prologue not only enthrals the viewers but is also soul-stirring. The highpoint of the enterprise is Raaz & Rishi's satirical bickering over which side ditched whom and who is responsible for the massacre -- with Vijay & Manu recollecting their childhood in Delhi & Lahore respectively and getting emotional -- binds the two deracinated souls and warms up into a heart-rending tale. The poignant dialogues (Manu Rishi Chadha) peppered with Urdu-Punjabi-Hindi poetry suggestive of partition agony, carry the heart-rending weight of the film consummately. The letter-reading scene during the penultimate moments is tear-jerking. The physical pain and emotional trauma of the soldiers inflicted by partition are competently depicted. Debutant director Vijay Raaz deserves a pat on his back for staying firmly focused on his post-partition story and executing it sensitively, though in the same location throughout with a dilapidating log cabin in the middle (production designer: Aman Vidhate) giving the desired feel of the aftermath of war. Raaj Chakravarti cinematographs the gist of post-partition human drama with flair. The background score and music (Sandesh Shandilya) equally compliment the ongoings & uplift the mood at every single juncture. Nandita Sahu's costumes are in sync and aptly exhibit a dark humour-in-uniform, teetotally. The climax too, is moving to the core.
On the flip side, the story feels a tad long (editing: Archit Rastogi) as some scenes are stretched unnecessarily in parts. The pacing is slow... very slow, in fact! Some situations and arguments are nonsensical to the hilt.
Kudos to Vijay Raaz's versatility for making his acting credible and direction incredible! Phenomenal!
Manu Rishi is a scene-stealer unquestionably! The way he utters his dialogues deserves tremendous commendation. Long way to go man!
Rajendranath Zutshi is naturally perfect in a short cameo appearing as Barfi Singh, a postman working for the Indian army. Watch out for him in the scene when Vijay Raaz is captive in his hands and he tells him, "Abe, Hindustani auzaar se ijjat se baat kar. Bol penchkasji maaf kar dein!"
Vishwajeet Pradhan lends able support.
To sum up, KYA DILLI KYA LAHORE has its heart & mind at the right place with terrific performances and a truly disturbing climax leaving a long lasting impact. Give this one a shot for the honest attempt if you are a connoisseur of meaningful cinema!
first appeared on http://www.desimartini.com/movies/kya-dilli-kya-lahore/md3383.htm
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