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 Live life just for the moment. Meghna Gulzarchr('146')s Filhaal is indeed filled with moments of life, but unfortunately, the moments in life are all scattered like un-connectable puzzle pieces that simply canchr('146')t click. The simple premise that a simple film can appeal to the masses is understandable, and the simple premise that a film is aimed at the critique- elite audience, which was an assumption made about Filhaal prior to its release (with the help of the ever so stylish promotion campaign) is easily comprehended. Filhaal is not aimed at the critique audience, nor is it convoluted with style and subject appealing to the elite audience. The film has its strong points in patches leading in an overall average outcome, much less than what was expected.
In the midst of the flashback and chr('147')Le Chale Doliyonchr('148'), we come to learn the evident problem, having a child. Siachr('146')s decision to carry a child for Dhruv and Rewa describes the remaining moments in the film. In an exterior and interior examination, Filhaal lacks any strong appeal for the wide area of watchers. There is only a fair amount of strength in the product for critics to appreciate it, the main stream audience would apparently rather see popular stars handle the problem of a lack of ability to have a child as in Chori Chori Chupke Chupke and the elite class wonchr('146')t see any richness in this one. There are only few memorable and impactful portions of the film, a primary example being Rewachr('146')s heart wrenching miscarriage in the dark rainy night but much of the impact has to do with Tabu. Yet Filhaal, if not anything, is surely worth a moment in your time. The refreshing non-melodrama approach was indeed innovative; the subtlety of emotions is handled fairly well. Another primary example being Rewachr('146')s solemn intoxication awaiting news on Sia and her unborn child.
Filhaal will appeal to some people- most significantly Tabu fans. Even with this lackluster product she has given it her complete soul once again coming alive as Rewa. Filhaal isnchr('146')t a washout because of her performance and would be tolerable for her, which is probably one of the reasons I was able to watch it out completely. She also looks ravishingly appealing as an actress in every single department. In fact one canchr('146')t speak enough of her emotive power, almost as if she carries the film on her shoulders, though that would be discrediting Sushmita and Sanjay who lend apt support. Needless to say Tabu pulls the heartstrings and allows you to attach yourself, momentarily, with the film.
Palash Sen is unappealing though he portrays his character with a sense of naturalness; it wonchr('146')t do much for him in his career. His role is relatively small and easily overlooked chr('150') but still not a bad job either. Sanjay Suri performs well. The film will probably be ignored due to its lack of real-hero-power (though itchr('146')s the underdogs that have been reigning lately), but Suri shows potential in a sincere act. The background score of the film serves it well but is way too unoriginal and in that sense boring. There is focus on the score, so much so that the familiarity takes us through three or four years of past Bollywood cinema. On the other hand the film bares a bright colorful look, but even that happens in moments only. The songs appear too frequently and are in portions quite misplaced (especially Dil Ke Sannate) and in some sense loose complete impact, both on the tunes and the film. Anu Malik has done a good job with the score but the connection with the music and the film is lacking (which is irrespective of course of Gulzarchr('146')s beautiful poetry). Cinematography however is one thing salvaged out of them, for every song even in the dull-presented ghod bharai scene, the cinematography is fresh to the eyes. It is indeed the freshest thing about the film.
Though they too raise questions on Gulzarchr('146')s handling of the subject. Rewachr('146')s life and Siachr('146')s life both changed when Sia agreed to carry her baby, but in an impactful moment for Rewa we are later shown Sia prancing around singing the title song. Given, each protagonist has the moment of fear and struggle but the basis for the song and scenario seemed fit more for Rewa. Directorially Meghna is not a washout but doesnchr('146')t provide anything fresh which is the biggest problem with Filhaal. The inevitable comparison to Dil Chahta Hai and the other debut directorchr('146')s products of recent years, proved a certain fall out for Gulzar, as she doesnchr('146')t meet the mark in any true sense. Her mediocre handling of placing the scenarios in an appealing manner and making the film strong is one of the clear drawbacks of these moments in life. There is a sense of dullness when you compare the friendship of Rewa and Sia and the romantic relationships of their male counterparts. Withstanding the comparisons, their friendships is pushing chr('147')realistic cinemachr('148') overboard (read: dull, saving force being the actresses). Even the pregnancy portion showed some slight similarity to surrogate mother films. In the climactic portions of the film as well we aren´t given enough time to feel the struggle, it is almost as if she tries to prevent melodrama and forgets about the struggle in the first place. Perhaps itchr('146')s the subject matter and her handling of that that draws back, for we are sure that she does have talent (she did have Tabu play the main role after all!) If one were to find specific flaws in the film, they are coincidental. Itchr('146')s more than the fact that wechr('146')ve seen surrogate motherhood tackled in films before. It seems more like Gulzar has spent too much effort on presenting the story itself and her efforts seemed strung out, dragged and lack the punch. Tabu is one solid reason to watch this film and it would prove a memorable experience if you are a big fan of her. If it werenchr('146')t for the slow pace or the lack of freshness Filhaal would have surely been a memorable moment in Bollywood history, but for Gulzar, wechr('146')ll wait for her future projects and simply put this moment in time behind us. |
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From the beginning with unnecessary light comedy leading way to Rewa (Tabu)chr('146')s dilemma the story switches gear in an unappealing manner. Before we are able to fully grasp Rewachr('146')s problem, we are taken through several flashbacks, including Sia (Sushmita Sen)chr('146')s pregnancy, until the final portion, which leads us to the final flashback- the film itself. In the meantime the two male leads, Dhruv (Sanjay Suri) and Sahil (Palash Sen) attempt to woe the ladies (and the audience at the same time). At this portion, the pace starts off uneven but slowly picks up with support from the main players. 
Sushmita Sen is not far away either though her characterization is feeble. From denying a married womanchr('146')s life to choosing friendship over other life decisions, Sia is one confused woman! Even then, when she is given time to show some true feelings with Siachr('146')s child, the scenario changes quickly to her relationship with Sahil. Bad move! Sushmita still manages her all and we are able to see her hard work. She acts quite maturely for an actress who isnchr('146')t seen that much and who hasnchr('146')t been given many meaningful roles to portray. Her rapport with Tabu is evitable though it isnchr('146')t sparkling as many other actress-duoschr('146') are.