Review: 'Guzaarish' has little magic, too much melodrama

Film: Guzaarish (U/A)
Director: Sanjay Leela Bhansali
Cast: Hrithik Roshan, Aishwarya Rai Bachchan, Aditya Roy Kapur, Shernaz Patel, Suhel Seth and others
Rating: **1/2

You would expect a Sanjay Leela Bhansali film, with Hrithik Roshan and Aishwarya Rai Bachchan heading the cast, to be looked forward to. But blame it on the not-so-exciting promos, or the debacle of Bhansali’s last, Saawariya, the buzz around Guzaarish has been minimal, and expectations low. The film, thankfully, gives a bit more than what you expect from it. But is it enough?

Guzaarish, if it can be said, is a Bhansali special. Set in Goa, the film has impeccable art direction, sets right out of a 1960s classic, over-the-top acting and a plot that gives room for enough melodrama. It has another Bhansali favourite — a handicapped protagonist, a quadriplegic in this case.

Ethan Mascarenhas (Hrithik), one of India’s most famous magicians, has been a quadriplegic (someone paralysed neck down) for 12 years following an accident during one of his acts. In this period, he has written a book and hosted a radio show and inspired many with his positive outlook to life in spite of his condition.

But Ethan is slowly losing his will to live with his handicap. As a result, he appeals for euthanasia — an act of ending one’s life as a way to end suffering — with the help of his lawyer friend Devyani (Patel). Those close to him, like his nurse of 12 years, Sophia (Rai), who neglected her marriage so she could look after Ethan, Nayak (Seth), who has been Ethan’s doctor since the time he suffered the accident, and his two caretakers are upset with his decision but support him nonetheless in his effort to end his own life legally.

One day, a young magician, Omar (Roy Kapur), lands up at Ethan’s house, urging Ethan to teach him some of his tricks. Ethan takes Omar under his tutelage, passing on knowledge of magic that only he possesses. The film is about the last few days of Ethan and the people most affected by his handicap and eventual death — Sophia, Omar, Dr Nayak, Devyani, etc.

The story is inspired by that of Ramon Sampedro, a Spanish man who fought for 28 years to earn the right to end his own life. The Spanish film, Mar Adentro (The Sea Inside in English) was based on Sampedro’s life. Traces of Anand can’t be missed either.

But like in the case of many other Bhansali films, no credit has been given to the film’s source. Though in Saawariya, the short story White Nights was credited as the inspiration, both Black and Hum Dil De Chuke Sanam — rehashes of The Miracle Worker and our very own Woh Saat Din, respectively — had no such mention.

But then you never watch a Bhansali film for an original story — it’s the treatment which either leaves you spellbound or is found wanting.

Guzaarish has a balance of both. While you can’t but be impressed by the film’s visual appeal — and typical Bhansali touches — why watch something that gives you a ‘seen-that-before’ kind of feeling?

The flaws are many. The acting seems right out of a 1980s ham fest. The court scenes, which could have been a major highlight, are farcical. Rajit Kapoor plays a typical ‘public prosecutor’ who has evil written all over him. He twitches his lips, flails his arms in the air, and proclaims, “I object, Your Honour”, even though you don’t see why he’s doing so. And it hurts to see the talented Shernaz Patel give Kapoor competition in overacting through the court scenes.

The setting of the film is confusing. Cinema may be about creating a make-believe world — Bhansali has always made full use of the ‘suspension of disbelief’ factor — but in a film that tries to depict a true story, the garish costumes and unreal sets just don’t gel.

If Sophia’s dress sense and make-up make you cringe, Omar’s ‘tramp’ look is befuddling. In fact, you expect him to break into a 'Jab Se Tera Naina' kind of song and transform into Ranbir Kapoor from Saawariya, so similar are the get-ups of the two actors.

Aditya Roy Kapur, though, stands out as Omar with a performance that is sure to win him some recognition, and maybe fans, too. Rai, on the other hand, puts in another lacklustre and laboured performance after Raavan this year.

Seth only gets a couple of scenes, thankfully. Hrithik does what he can, but somehow fails to create the impact the role and the story needed him to. Oh, there’s Monikangana Dutta too, in her much-hyped role that comes and goes before you can say ‘debut’.

Is all lost then? Not quite. The film, in spite of the morose plot, has a happy feel to it. Ethan’s interactions with Sophia are cute and Omar’s character brings some zest to the story. The scenes showing Ethan as a magician are well choreographed, and the film has some truly heart-wrenching moments, like when Ethan surrenders to the leaking roof above his bed.

But what should have been a subtle tearjerker turns into over-the-top melodrama. Most times, you feel like Guzaarish is taking you for a ride — trying to lure you in with the emotions the characters portray, but you don’t always feel yourself, and making sure it tugs at your heartstrings. It succeeds at times. At others, it leaves you unmoved.

Watch Guzaarish if you must. It’s not a bad film. But you know Bhansali can do better. Much better.