Sony Entertainment's Lagaan is more an experience than a movie.
Indian actor Aamir Khan's home production is a cinematic experience which
highlights Indian cinema to the hilt, while weaving a tale set in Champaner
during the time of the British Empire's presence which deals with Lagaan
(the land tax) and a village's upheaval against its oppressors.
The film revolves around three characters namely Bhuvan (Aamir Khan),
Gauri (debutante Gracey Singh) and Elizabeth (British actress Rachel
Shelley), and deals with Bhuvan's spirited fight to defend what is his
birthright, as he embroils the entire village into a magnitude of problems
which inadvertently ends up being their only escape from the tyranny under
which they reside. Gauri is the simple village girl who loyally stands
behind the man she loves yet cannot profess her love to, while Elizabeth is
the beautiful sister of the British Lieutenant and the complication who aids
the village in their fight against injustice.
The first half sets the scene beautifully, explaining what Lagaan is,
introducing the characters and gradually pulling the audience into this
period and place, literally taking the viewer into Champaner through
cinematography which highlights the locales and sets which establish the
standard of living. It makes you feel for the characters, believe in the
villagers and draws you into the celluloid created world, while the second
presents to you their turmoil, dawns on you what is at stake and whisks you
away in a tornado of emotions and rising spirits.
The opening scenes are more congruent to joining a conversation midway, as
from the moment you are thrust into 1893's India, you gain footing and a
sense of atmosphere, feeling at ease as the camera pans across its setting
for the movie, drifting into the journey that will hold your attention for
the duration of the film. Apart from familiarising the viewer with its
characters, the first half also takes you back with its breathtakingly
beautiful cinematography and fitting background score. The characters are
established, the situation presented and relationships etched, with each
scene rhythmically flowing from one to the other in a continuous motion.
The second half is less involved in justifying its characters and aims more
towards culminating the scene which has been set in the first. By this time
you are already a part of this world and your emotions have already been
stirred, now they are put to the test as the events which will determine the
entire crux of the film begin and get the viewer involved.
The romantic triangle between Bhuvan, Gauri and Elizabeth is expertly
handled. The beauty of its predicament is that no one feels a loss by the
end of the film, and director Ashutosh Gowariker beautifully justifies
eternal love (but not necessarily requitted love) through drawing a
comparison with the spiritual romance of the Hindu god Krishna and Radha. A
delightfully delicately handled scene and situation gives birth to the
foundation which will resolve the triangle in a manner leaving warmth in the
viewer's heart.
The cinematography by Anil Mehta is breathtaking, highlighting Bhuj to the
fullest. The entire movie flows like an orchestra's sonata, akin to a
symphony it weaves in and out leaving memorable notes instilled in the
viewer's mind.
Aamir Khan is a revelation. His acting is superb and be it the conviction
and fire in his eyes, the way he draws breaths from the air of the abode he
calls home or even gulps at the atrocities he witnesses, he has become
Bhuvan completely. His portrayal is such that it puts you inside Bhuvan's
psyche and enables the viewer to understand the character from his demeanour
alone. His piercing eyes stare sharply like razor blades, cutting through
the camera and leave a haunting impression on an unsuspecting audience,
drawing them more and more deeper into his world.
Gracey Singh performs ably and is also an extremely graceful dancer, as
particularly evident in the Radha Kaise Na Jale song. She acts with her
eyes, eyebrows, nose, mouth, all of her and gives to the role of Gauri
completely, giving a debut performance of high calibre.
Rachel Shelley makes her presence felt like an ethereal spirit. Apart from
looking stunning she adds to whichever frame she is in with panache and
style. Her crossover to Indian cinema, or indeed to this film, is delicately
handled and a feat to be applauded. To light a face like Shelley's in the
same frame as the villagers without making one or the other look
considerably darker or awkwardly paler, is a difficult task in itself. But
the cinematography, the lighting and make up is such that the characters
come alive as physical presences which complement each other, as do Aamir
Khan and Rachel Shelley. Her interactions with Bhuvan and the villagers are
intricately handled and executed wonderfully, and her inclusion in the O Rey
Chori song is poetry on screen. To make a Western character dance in Indian
cinema without causing a giggle from the audience or without it appearing
unnatural is also something which needs to be handled with careful thought
and the result is such that this song picturisation alone will invoke
discussion on how beautifully it has been shot.
Andrew Russell's boisterous character is brought to life by Paul
Blackthorne, as he slides perfectly under the skin of a character that
should reflect British pride and be menacing and hostile. He performs well
and bounces off the supporting cast with utmost ease. The entire ensemble of
supporting cast are deserved of mention, and particularly Raghuveer Yadav,
who dynamically brings the character of Bhura across effectively and
convincingly with edge.
Each frame is full of a moving postcard of Bhuj, every scene as though it is
unfolding before your eyes notwithstanding the minutest of details. While
watching the film you can tell where the sun is rising from or its position
in the sky, because the character's shadows are exactly where they should
be, disguising any trace of studio lighting or allowing you to think for a
moment you are watching a movie. The feel exuded is such that you are
familiarised with the territory and you are brought into the village.
Champaner has been recreated such that the viewer believes in the
environment and the dwellers within, and could even after a few frames of
the film dictate the geography of the place.
A R Rahman is the composer who has produced the score for many Indian and South Indian
films, and this time too he does not betray his reputation of being a modern
day Mozart. He literally teases then grabs you with his music, first
resonating your veins, then breaths and finally allowing it to explode and
burst through your body like an energy force, flowing in sync with your
heartbeat. It's lilting melody, fresh sound and courageous allegros
mesmerise and reflect the movie's emotions and spirit of hope. The songs are
very well picturised and choreography is excellent, particularly Ghanan
Ghanan, O Mitwa and O Rey Chori. The bhajan O Paalanhaare is bewitchingly
lit and shot, injecting a spiritual vibe as candles' flickering flames
hypnotise every viewer whose eyes dance to its command.
If the film has a flaw it is that the second half takes from the first
half's elegance. When you leave the theatre you are so caught up in the
spirited emotions of the second that you forget for a while how beautifully
the first was executed. However, as to whether this is a flaw is also
questionable. Since all it essentially proves is the film's success in
drawing you into this small village, its characters and makes you a part of
its world for three hours and forty four minutes, that you leave feeling
you've not witnessed a movie but enjoyed an experience. If a movie
successfully projects its characters, rhythmically progresses the story
while gripping the audience throughout and transports the viewer into the
world created on screen while entertaining, it truly is a benchmark of
successful cinema.
The film belongs to Aamir and Ashutosh Gowariker all the way. Direction is
superb and results in what is a true mark on Indian cinema, held together by
Aamir's awe-inspiring performance.
Lagaan is about hope, courage, fighting against injustice, the human spirit
and about Indians. You enter the cinema to be entertained, and leave with a
piece of cinematic history being firmly etched in your heart.
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