Having liked (but not loved) Jab We Met, rolled my eyes through Love Aaj Kal and despised Rockstar, my faith in director Imtiaz
Ali had mostly faded. I didn’t much appreciate the schmaltz, the contrived
drama and the lame message of ‘the power of love’ in his previous two films. Nor
did I dig their blatantly commercial elements, dumbed down to cater to lower
common denominators.
It seems like Mr Ali somehow
heard my complaints, made a checklist of things I hated in his movies and
passionately made a film that trumps those elements. I had grossly misjudged
his filmmaking prowess, because his latest venture Highway is not only a terrific movie but also an achievement in
commercial Bollywood cinema. As a bonus, it also has a pleasant
surprise - Alia Bhatt is a major acting talent.
Highway is a character driven piece rather than a plot driven one so the less you know about the plot, the better. Alia plays Veera, a
wealthy Delhi girl who gets kidnapped by a gang of bandits headed by Mahabir
(Randeep Hooda). Like in A Life Less
Ordinary, Veera is afflicted with a serious bout of Stockholm Syndrome.
However Veera is not like Cameron Diaz from that movie, or the Robert Redford
starstruck Faye Dunaway in Three Days of
Condor, she’s more like Zhang Ziyi in Couching
Tiger – a vulnerable little kid with a fractured personality. Her
attraction to Mahabir is confounding in one moment, heartbreaking in the next
and hilarious when you least expect it to be.
If you’re an Imtiaz Ali fan you’ll
be stunned by how different Highway
is compared to his previous films. It’s not just different in concept but in form as well. The first thing you’ll notice is how subtle and quiet
the film is. Despite a soundtrack by AR Rahman there is very little background music in the
film. There are no tacky
reaction shots and no helpful musical cues to spoonfeed you the emotions. The most dramatic scene of the film is enacted against pin drop silence, relying upon characters rather than background music to move you. There are no song and dance numbers either - in fact the film plays
out like an offbeat indie, even crossing over to indulgent arthouse territory at times. It’s also quite dark, and more affective than expected.
For a commercial film, there is
plenty of unconventional stuff in Highway. Often, the camera just follows Alia as she goes impromptu. Keen
movie buffs will be able to figure out the scripted scenes from the spontaneous
ones, the best of which is Veera trying to negotiate with a rock on a rapid
stream. There’s a really funny bit when Veera pops in an English music CD in
Mahabir’s truck and starts break dancing on the highway. Mahabir is a dacoit
but isn’t a stereotypical rapey Puanjabi gunda, he actually gets annoyed when
Veera constantly clings on to him. The first half is completely unpredictable, the ‘commercial’ elements arrive only in the second
half, but they don’t get in the way of the story. They’re welded together with
the songs and imagery of the protagonists driving through various terrains. It’s
two people discovering themselves when they are at their loneliest, and with Mr
Rahman’s music trickling lightly it’s tough to dislike what’s happening on the
screen.
Highway does not try to be
Motorcycle Diaries or preach about Mother Nature giving you a perspective on
life. Veera changes as she travels with Mahabir across deserts and mountains, but
it’s not corny like Hrithik crying after a swim in Zindagi na milegi dobara. Veera’s change is gently realized, and
she has a reason to behave the way she does. The one legitimate criticism one
could bring up is that Veera’s breakthrough with Mahabir, where she opens up to
him emotionally, kind of pops up out of the blue. It’s the one time where the
editing is jarring, but it’s easy to glance over because the scene itself is
very moving courtesy of Alia’s performance.
After watching her debut film,
like many others I did not expect Alia to do anything more than safe commercial song and dance comedies. In Highway Alia punches the entitled star kid stereotype and pretty
much shocks you with her range and dedication. Despite Hooda’s decent
performance Alia carries the whole film on her shoulders without
breaking a sweat. She had difficult material to deal with and the film is
practically a collage of Alia moments, and she pulls off those moments very
well. A lot of times Veera exhibits cooky behavior yet Alia manages to make Veera
endearing when she so easily could have been hammy and laughable. She even has
a tremendous five minute long single take dramatic shot in the climax – a
million things could have gone wrong here but she hits the right notes, thanks
no doubt to Ali’s solid direction. With Deepika, Parineeti and now Alia in the
younger generation the future of Bollywood seems bright.
A scary prospect is that Highway might not make money because
people expecting a typical Imtiaz Ali commercial film will not find what
they’re looking for. Some will no doubt criticize the film’s silences, long
takes and lack of naach gaana. That’ll be a shame because it’s not often that a
big commercial filmmaker gathers the courage to make something different and
becomes successful at it. There is so much to appreciate in Highway and if it can goad other commercial filmmakers to take notice and also dare to try something new, we’ll all be richer for it.
(First published in Firstpost)
No comments:
Post a Comment