Aamir Khan, Kajol, Rishi Kapoor, Kirron Kher, Shiney Ahuja & Tabu.india Updated: Jun 05, 2006 11:40 IST
'Aamir Khan is a terrorist, Kajol is blind and they both die in the end.'
That's the spoiler SMS one received on Thursday morning from a person who will remain unnamed.
Yet there was enough curiosity to watch the movie that Yash Raj Films has been hardselling as the chance to watch an explosive combo — Aamir Khan and Kajol — for the first time.
|The duo doesn't disappoint|
The duo doesn't disappoint. Kajol in her comeback role is as good as she ever was, maybe better because she emotes with more maturity and looks trimmer (Manish Malhotra's got her look just right).
Aamir rises to the occasion, too, changing looks and character in the film with as much ease as he does in the Coke ads. And their chemistry is not bad — definitely better than it appears on Yash Raj's TV promotions of the film where the two actors interview each other.
However, Fanaa falters because of its storyline and script. Storywriter Shibani Bathija and director/dialogue writer Kunal Kohli have not been able to pull this one off.
A blind Kajol brought up in a cocooned environment provided by parents Rishi Kapoor and Kirron Kher arrives in Delhi and falls in love with the first man she meets.
He's spouting poetry, getting touchy-feely with her and she melts like a blob of butter in the hot Delhi sun.
In four days she's fallen in love, gone sightseeing with him, and even hops into bed with him, and all the while he's telling her this is no long-term romance.
This apart, she goes to a doctor to check her eyes and he tells her that her blindness can be cured (why her parents didn't think of that is not clear, especially since they live in a sprawling bungalow in Kashmir and seem to be affluent enough).
Fanaa gets better in the second half. Better because most of the far-fetched rubbish that's needed to pull the script together is over and done with.
In the latter part of the film the story is predictable but the actors are allowed to take over and redeem whatever is left.
Technically you can't fault a Yash Raj Film and this one, too, has its high points. There is a rain sequence where the camera work is wonderful and Ravi Chandran's cinematography deserves mention.
Also good are art directors Nitish Roy and Sharmishta Roy who seem to have lost their penchant for loud colours and rely on natural, earthy touches a great deal more.
The music is passable, the action (George Aguilar, USA) very professional. Kohli's film has a blind protagonist and there will be comparisons with Sanjay Leela Bhansali's Black.
While there is no case for it, one thing's certain — emotionally speaking, Bhansali's character was far more credible.