In the present times of information & connectivity, we can broadly classify the cinema viewers into two main segments as per their individual knowledge and viewing preferences. One, wherein the viewers have a reasonable understanding and are very much interested in the visual as well as the technical aspects of the film contributing in its overall impact. The film enthusiasts, who are well aware of the works being appreciated in the World Cinema, are capable enough to sight all those subtle directorial moments hidden in the various sequences and can catch all the finer details of the narration working in the background.
Whereas on the other hand we have a big segment of viewers who are simply not interested in anything else but just want to feel the characters emoting on the screen as if a part of their own persona, wish to be emotionally entertained in a love story and simply want to be them for a while forgetting the rest of the world. These are the cinema lovers who want to feel the grease if they are watching a hero playing a motor mechanic and are ready to bear the pain when he gets hit by a bullet shot by the rivals. They are ready to shed some tears along with the departing lovers and do wish to feel the joy of them being together after all the troubles.
So as I see it, movies today are seen by these two kind of viewers together and when a film successfully is able to satisfy both the segments largely, it is considered to be a Hit both in the classes as well as the masses and can even be termed as a Classic of the modern times. However, when it comes to Vikramaditya Motwane’s second venture LOOTERA, I am unable to keep it in the same bracket as the film cannot be called a hugely satisfying venture particularly for the second section of viewers as mentioned above. Where the film is a much more technically polished product from the talented director as its second venture, there I strongly couldn’t find the same emotional connect with its characters as I could feel in his first film UDAAN. Perhaps the tears I had in my eyes while watching UDAAN were all lost in the picture perfect frames and visually delightful sequences carefully designed by Motwane in his second big project resulting in a beautifully crafted sculpture missing the desired depth.
In simple words, this is one of the most magnificently shot and poetically conceived films of the present times which probably was made as “A Deliberate Classic” by the team in a forceful manner. So if you are really willing to see the old world charm of Bengali Zamindar’s and Dalhousie, shot in an outstanding way like a mesmerizing poetry on the celluloid, then the film might have enough to serve you well in the visual terms. Particularly the final sequence of the film in the snow surely deserves all the appreciation both for its splendid visualization and execution in a never before kind of style in Indian Cinema.
To praise the effort further, the mood is perfect, the pace is calm, the musical tracks are soothing, the background score is a winner, the locations are right on the spot, the cinematography is breathtaking, the ambience is recreated brilliantly and the performers have put their whole hearted effort in the acts undoubtedly. Yet, the film hasn’t got the soul of that pure love which straight away reaches your heart and makes you feel the magic. In other words the picture is painted perfectly but yet it doesn’t comes out of the frame and grabs you lovingly. And that’s because this time, Motwane focuses more on the body of his product than its soul which was right there, leading from the front in his UDAAN.
Hence where the film is truly brilliant from one angle, its just not upto the mark from the other wherein the viewer feels less involved as well as entertained right till its worth mentioning climax. The pace remains slow throughout which might turn out to be quite annoying for many and the famous songs also keep you waiting till the last half an hour to be precise, which is not expected in a musical love story made for Hindi Cinema (first half has only 1 song). Moreover I was really surprised to see such big visible grains/snow in its night sequences on the screen, which ideally is not a feature of a film made on this kind of budget.
As far as the plot is concerned it is based on American author O. Henry's short story 'The Last Leaf' which has not been adapted in its pure form. The film reveals its main twist right before the interval related to a shocking heist but refuses to speed up the pace even in its second half despite of featuring all the investigation scenes and chases.
In the acting department, both Ranveer and Sonakshi have given their career best performances together as the roles were indeed much complicated as compared to what they have earlier portrayed in their few films. Especially their dialogue delivery needs a special mention here which can be expressed in the form of loving whispers made into each other’s hearts silently. And I am sure Ranveer must have gone through a lot to get it right as he is known to play loud roles with all that spirit and energy till now. In the supporting cast, Vikrant Massey gets nothing much to do, both Adil Hussain and Barun Chadha make a solid impact but Divya Dutta remains wasted.
All together, LOOTERA is a kind of film which is going to be appreciated as a modern age classic by a few but at the same time an emotionally less entertaining love saga by the rest. However on a personal note, I really wish it had the depth shown by the director in his first venture.
Rating : 3 / 5
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