Juncture of shocking held by happening an unusual sighting. Nodoubt I undergo same by screening Ali Zafar’s 3rd Indian Movie, Rose Movies & Fox Star Studios’ “London Paris New York” released on March 2, 2012 at all leading cinemas and multiplexes of Karachi. Movie is pedestal on three days’ LOVE …. no no not like Titanic, these three days are having gaps of months & years.
By the witty line of attack, producer Goldie Behl shooted; and directed by Anu Menon with beautiful visual treats. Movie sounds to be very costly in terms of its illustration analysis because of multi locations i.e. London, Paris and New York but infact the movie is very cost effective in stipulations of budgeting. The reason is assortment of cast and shooting sites at discussed locations. Foremost portion of movie is detained in open locale and vicinity instead of installing sets; three major outfits for both Aditi Rao Hyderi, the heroin of the movie and Ali Zafar, because the movie showed the story of three days. Supporting cast can be count on fingers and their few minutes’ appearance instead of hours. Ali and Aditi both are struggling souls and haven’t charged like Aakshay Kumar or Aishwerya Rai, even Aki or Ash payments is equal to the whole cost of LPNY.
Goldie Behl is known for his Bollywood’s mega even a super duper …. FLOP named as “DRONA”. Which shacked the livelihood of Behl, but by opting for a light topic of LPNY, could cultivate the producery vocation of Behl, no doubt.
The music is thoroughly western oriented but have a immense compass for Ali Zafar for being a solo music directed and singer for an Indian movie. All male vocals have been given by AZ, even a song also sung by Aditi Rao Hydari, got a moved on by AZ. The music isn’t having evergreen melodies, it comprised on fad, an impermanent craze and afterward people will gonna ask that is there any song in LPNY. AZ proved for being a true Pakistani by fetching Pakistani voices under his music directorial debut in Bollywood. He brought Sanam Marvi and Hadiqa Kiyani for well eared tracks along with Indian singing deva Sunidhi Chauhan. The most popular track of the movie is “Woh Daikhnay Main” sung by AZ with instrumentalised backgrounds and Anu Manan added an eye feast by picturised the track in a beautiful location of Church in London, sounds like dream theme. While another most FMised track is “Tin Tinga Tin”, a punjabi tuned track with a beautiful dance moves choreographed by Aadil Shaikh.
In terms of technicalities of the assembly, LPNY is an appreciable piece; but in terms of story, it has a key scrawny facet, which sounds like a peer pressure found in recent Indian films. We are talking about an execution of non cultural activities especially we found our beautiful Indian heroines in smoking and drinking habits and on the other hand story tries to show a good character of the heroin. Kangana Ranaut in “Tanu Weds Manu” is addicted in drinking and smoking habit and on the other hand movie present her as a cultural Punjabi Kuree ! …. Vow ….
Another example is Katrina Kaif in Ali Zafar’s second movie “Mere Brother ki Dlhan”, in which Imran Khan selected a cultural girl for his brother, who drinks and behaving like a street bunkers. Salman Khan’s track “Character Dheela” fits and suits on today’s heroin in the films, who has no boundary for keeping their IJJAT and had nights with their boyfriend as we sighted Anushka Sharma in “Band Bajaa Barat”. You are thinking that why we are diverting the LPNY’s review towards a debate, because the major flaw found in the movie is based on same. Mind it, such things by no means lend a hand for being accepted. Movie lover still missed DDLJ (Dilwale Dulhania Lejaingay) in which Kajol screamed in misunderstanding for having night with Shahrukh Khan and KKHH (Kuch Kuch Hota Hai) where Kajol refused to kiss Shahrukh Khan, when she found her engagement ring with Salman Khan in hand. Last year blockbuster Rockstar also portrayed Nargis Fakhri in quite negative way with desperate feeling for being alcoholic and smoker with a dialogue of “Aao Gandh Karein”.
We are not blaming “The Dirty Picture” for its dirtiness, because it executed a biography of struggling actress, who wants to do any thing for being on top, which somehow permissible because of biography of objectionable tale, but such dialogues and characters aren’t allowable where we showed a cultural girl with family traditions.
LPNY is an episodic film in terms of movie theory, having three portion, first shows a day in London with innocent and cultural girl Lalitha and a town guy Nikhil, having childish fun and masti …. sounds good. The third portion shows a night and day in New York with again a Papa’s daughter Lalitha and a town guy Nikhil spending a night at sea shore by holding eachother’s hands JUST ! …. vow sounds good again. Hey hey …. What happen, you are asking that why I didn’t discussed the second portion? Because the second portion portrayed a tale of scot like middle aged girl and a freak middle aged man, who had shared a night with deep psycho feelings. The image of girl and boy developed in first portion and continued in third portion, it has been lost in middle and brought a dheela character of both in second portion with ugly looks of Aditi in drunken appearance and shameless outfit changing scene. Why Anu Menon, the story writer, dialogue designer, screen player and director of LPNY brought an ugly face of innocent love in the middle of the movie and bring the status to U/A Certification and connect some little bit cultural feeling to advanced sex free societal traits. As I discussed that we observed increasing anti cultural execution of heroines in Indian films, in which a cultural girl is habitual with drinking and smoking activities etc. On one hand Indian channels makes blurred the cigarette and birri holding visuals by Sunjay Dutt in Agneepath’s Chikni Chameli, and on other hand they spread the lesson for girls for being alcoholic and freaked instead of having women power like in Chukde India. One side India is making blurred the smoking tools in hands and on other hand; they are showing their civilized and household girls engaged in smoking as we observed in recent release “Bitoo Boss”.
Well let’s come back to the discussion that overall LPNY got multiple responses, the only one center of attraction of the movie is Pop Sensation Ali Zafar. While film is criticized by senior generation and as we discussed that only the middle portion has fungi the overall movie theme. The climax sounds very strong by bombardment of anger in words by Ali Zafar or we can say Nikhil. Those dialogues, although quite bold ever used in Indian cinema but are supposed to be the strongest dialogues ever delivered by Ali Zafar in his previous films and in LPNY too. The climax shacked the minds of cinema seat leaver for being memorable the acting skills of Ali Zafar. Aditi Hyderi also got critically acclaimed response with her confused character sometimes a cultural or sometimes a bold beauty. In the era of Ra.1 typed films, LPNY is perceived as a relief for the cinema lovers and youth by treating their visuals with soft and cool romantic feast.
By Kamran Jawaid
States Times (www.statestimes.net)
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