Y! Meta Review: Aiyyaa
Rani Mukerji and Prithviraj in ‘Aiyyaa’Sachin Kundalkar’s ‘Aiyyaa’ is a extraordinary film to review, conjunction can we totally diss it as a bad one nor can we disremember a apparent flaws. There are moments in a film that will make we grin many after we have left a entertainment and afterwards there are others that only had no place in a final cut.
Baradwaj Rangan has patrician his review, “Aiyyaa”… Curiouser and curiouser:
Throughout Aiyyaa, we are left branch between a lovably shrill Hindi film and a some-more dreamlike French intrigue that competence have featured Audrey Tautou — and a outcome is whiplash. A low-pitched method like Dreamum wakeupum — an expertly staged satire of a Padmalaya ethos — belongs in a initial kind of a film, though clashes horribly with a sensibilities of a other film. And a strain between dual ancillary characters — Maina (Anita Date, who’s done to demeanour like a cranky between Olive Oyl and a Folies Bergère entertainer) and Meenakshi’s hermit Nana (Amey Wagh) — is staged like absurd theatre. It has no business in a Bollywood film where Meenakshi’s fiancé, Madhav (Subodh Bhave), breaks into a kindly ruminative balance from Saath Saath. And what, really, are we ostensible to make of Meenakshi’s admission that she identifies with a heroine of Alice in Wonderland, solely that we’re in a film that’s removing curiouser and curiouser?
‘Aiyyaa’ starts off with a guarantee since there’s something so new about this story. Shubhra Gupta says:
More than anything else, ‘Aiyyaa’ is a film that could have been a truly subversive, refreshing float with a intimately aware, sensually charged lady during a centre. A lady who is peaceful to follow her nose, and her heart, to where it takes her: in this instance, past an superfluous ‘kachre ka dabba’ to a sweet-smelling hottie. But Sachin Kundalkar’s whose Marathi ‘Gandha’ did this forever better, doesn’t conduct a reprise, and what we get is a flat, heavy-footed clomp by screechy lines and overstated, dragged-out situations.
Rani is a star in this one and her quirky and recurrent impression is a many interesting partial of a film. Anupama Chopra says in her review:
She imagines she’s Mohini from Tezaab and Rashmi from Qayamat Se Qayamat Tak. Her hermit is spooky with dogs. One of her colleagues during work is a arrange of bargain-basement Lady Gaga who drinks vodka out of a bottle made like a red monkey. Some of this is fun. Rani is pleasant as a lady in heat.
She expertly manages to be both a wag and a seductress. She looks overwhelming and dances like a dervish. But a film can’t compare her performance. Kundalkar’s story shortly runs out of attract and wit. His poetic thought and strange voice is stretched to a indicate where even Rani’s mannerisms start to feel repetitive.
If we are still wondering either we should watch this one, Rajeev Masand says that a film is an strange experiment:
In a end, notwithstanding a considerable camerawork and Amit Trivedi’s winning tunes, Aiyyaa is during best an strange and earnest examination let down by a many indulgences. I’m going with two-and-a-half out of 5 for executive Sachin Kundalkar’s Aiyyaa; an surprising film that could’ve been so many more.
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