Re: Fida Film All Video Songs 12
Joao Charlesbois
A keenly anticipated film comes with the baggage of big expectations. And if the film happens to be FIDA, which teams Page 1 personalities [Shahid Kapoor and Kareena Kapoor] together for the first time, is directed by an immensely talented name [Ken Ghosh] and produced by makers who cut no corners while making a film [Tauranis], the expectations are not just gargantuan, but also multiply ten-fold.
But the lifeline of any film is definitely not its face-value or visual appeal, but its content-value. And it is in this area that FIDA weakens. Well, let?s just say, all films don?t have the perfect script? and FIDA is one of them!
The film begins with a heist. A person hacks into the bank account of an underworld don [Akhilendra Mishra] and transfers the huge sum to his account. The police is on the trail of the hacker, so is the underworld don.
Everything?s going fine for Jai and Neha, till Neha tries to attempt suicide one day. Reason: Her father, now dead, was a criminal who had taken a loan of Rs. 6 crores. It?s payback time for Neha. If she doesn?t return the sum within three days, the gangsters would settle scores with her.
When Jai learns of it, he decides to rob a bank. But Neha forewarns him against doing something drastic like that. Yet, Jai visits a bank and to his surprise, finds a man withdrawing a big sum from his account. The man is Vikram [Fardeen Khan].
Jai follows him to his plush mansion and attempts to rob him in the night, but Vikram outsmarts him and captures him. Jai tells Vikram the motive behind the robbery. Vikram strikes a deal: Tell the cops that Jai is the hacker and he?ll give him the Rs. 6 crores that he requires so desperately.
Jai agrees. He is arrested by the cops and is about to be produced in court when the underworld don?s henchmen attack. The don wants Jai. There?s exchange of gunfire and Jai escapes. He lands up at Neha?s house and is shocked to see something that shakes him up completely.
First things first! There?s tremendous speculation that FIDA is a mix of three English flicks ? REAR WINDOW, SLIVER and THE TRUMAN SHOW. But it?s not. By an uncanny coincidence, FIDA bears a striking similarity with Abbas-Mustan?s flicks ? AJNABEE and HUMRAAZ. The essence is the same: A scheming couple conning an innocent guy for selfish reasons.
The film takes off as a routine love story with the boy wooing the girl with flowers, swallowing pills, then singing and dancing to romantic tracks. In fact, the first half-an-hour of the enterprise seems like any other love story.
But the goings-on get interesting the moment Kareena attempts suicide. The Fardeen-Shahid pact, Shahid?s subsequent arrest, the exchange of gunfire outside the courtroom, Shahid?s subsequent escape from cops, his landing up at Kareena?s home takes the film to an all-time high.
The interval point specifically is amongst the best sequences of the enterprise. It raises the expectations of a thrilling second half. But the post-interval portions suffer due to inept writing.
Shahid decides to settle scores and guns for Fardeen and Kareena. So far, so good. But the game of one-upmanship in the post-interval portions is a complete downer and the climax is its biggest drawback. Though the end is novel [it?s not a happy ending], the sequence of events that lead to the climax is far from exciting.
Ken Ghosh needs to be lauded for swimming against the tide, by opting for a story that defies stereotype. But writers Lalit Mahajan and Sunny Mahajan have just not been able to deliver. The writing is plain mediocre in the post-interval portions and by the time you reach the finale, you?ve already lost interest in this thriller.
Of course, the writers have come up with a few interesting scenes, but the impact that a thriller ought to make is simply missing. Even the end may not find many takers ? it does not give you the feeling that the movie has ended on a satisfying note. It looks abrupt.
Anu Malik?s music is of a superior quality and the aggressive promotion by the producers only enhances the impact of songs. ?Nazar Nazar? [Shahid?s introduction] and ?Aaja Ve Mahi? [brilliantly filmed] are the pick of the lot. Cinematography [Amit Roy] is fantastic. The film wears a posh, classy look throughout. Dialogues [Kiran Kotrial] sound fresh at times.
Shahid Kapoor has all it takes to be an actor of substance. He handles his part with complete understanding. His outburst in the train, after he has been conned, is proof that the actor has the range to deliver. But, hello, why did Shahid need to ape Mr. Bachchan in the finale? In the post-interval portions too, the actor in him takes a complete backseat and the zeal and enthusiasm is clearly missing.
Fardeen Khan is fair. He has the suave look to carry off this character. But he suffers largely due to a sketchy characterization. His role doesn?t give him scope to match Shahid and Kareena?s well-penned characterizations.
Kareena Kapoor is in great form. The actress gets the best part and must say, she sinks her teeth into it and emerges with flying colours. This is amongst her finest work to date. She looks bewitching as well. Plus, the chemistry between Shahid and Kareena is electrifying.
On the whole, FIDA has thrilling moments, but not enough to entice you completely. At the box-office, the film will find the going tough after the initial euphoria settles. Mainly a big city film, its prospects should be better at multiplexes.
Madanji had a musically marvelous year in 1964. He had 8 releases and each of the films had a memorable score. Each very different from each other, with a variety of songs, many of which are still loved, including JAHANARA, GAZAL, SUHAGAN, SHARABI, POOJA KE PHOOL and AAP KI PARCHAIYAAN.
HAQEEQAT indeed is one of the most significant films in Madanjis 25-year career. He teamed up with Chetan Anand and Kaifi Azmi for the first time in this war-based film, in which many felt there was less scope for melodious music, but Madanji ensured that he created 7 songs, each with a lasting melodic appeal even if situational in the film... what an array of songs embellished this film! Of course, the Rafi Saab sung, Kar Chale Hum Fida is almost like an anthem even today, while the unusual adlib solo, Main Yeh Sochkar still moves listeners, the soft romantic Lataji solo, Zara Si Aahat appeals even today. One of Madanjis favorite songs, Khelo Na was deleted from the film and is thus lesser heard. The emotional group song, Hoke Majboor gave Madanji the opportunity to combine the genius of his favorite singers Rafi Saab, Talat Saab, and Mannada, while he introduced the young Bhupinder with this song.
Fidaa has some beautiful moments in the form of comedy, romance and family emotions. Shekhar Kammula is in full swing this time around as he sets the breezy romance and adds some memorable family drama to it.
As expected, Sai Pallavi is mind blowing in the film. Right from the first frame, she mesmerizes you completely. Be it her looks, Telangana accent and the way she carries the emotional scenes, she is a show stealer. Post-Fidaa, Sai Pallavi will be an even bigger rage all over.
Dil Raju should be commended for shooting this film in a superb note. The Telangana culture is showcased in a stunning away and the realistic nature of the characters from the region have been shown well. Music by Shaktikanth is a major asset for the film. All the songs are set perfectly into the narration. Sai Pallavi and her dances are a dream in these songs. The camerawork is stunning as the beautiful and earthy visuals of both Telangana and US have been showed wonderfully.
On the whole, Fidaa is one of the best love stories made in the recent times. The film has superb fun, good romance and moreover some moving emotions which will be loved by the entire section of the audience. The film is bound to do well in the overseas and A centers as it has clean entertainment. If you ignore the predictable story line, Sai Pallavi and Varun Tej will entertain you to the fullest. A must watch this weekend.
Kar chale hum fidaa jaan-o-tan saathiiyo
We are finished sacrificing our lives and bodies, companions
Ab tumhaare hawaale watan saathiiyo.N
Now we entrust the country to you, companions
This song is dedicated to my late grandfather, a Major-General in the Indian Army, who became an orphan at the age of 12, survived the Partition of India in 1947, fought on the fronts of the Indo-China War of 1962, and received the Ati Vishisht Seva Medal for his service in the Corps of Military Intelligence during the Indo-Pakistani War of 1971. He eventually retired with 3 children and 5 grandchildren who still strive to be as elegant and brave a human being as him.
Excellent work and one of the greatest song rightly chosen for this occasion by you. Its heartening to read the delicacies of editing and camera placements. If a person inherits with the understanding of film making he only can appreciate this intelligently crafted sequence. And if one does not inherit the understanding of the art he/she must read your lucidly defined essay.
Although I do not possess the genius to understand a song sequence, meanings of lyrics or technicalities of rendition of a song. But I do feel there must be some mention of the singer who rendered this song or any other song by any other singer. I think play back singer equally contributes to the glory of the song along with the lyricist, music director and the director who picturing it.
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