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Malaal means "sorrow". This is an essential word of Sanjay Leela Bhansali: virgin, powered, worthy of a vintage typeface. The title is strangely confused with the film below, which gives unnecessary weight to a desperately bbad love story. The film is constantly aiming for a large-area treatment, often at the expense of local color and depth. Only because it is possible. And, because it's finally a launch movie.
Directed by Mangesh Hadawale and produced by Bhansali Productions, Malaal is the lead role of debutants Meezaan and Sharmin Segal. Meezaan is the son of Jaaved Jaaferi; Sharmin is the niece of Bhansali. Together they make up the craziest pair of screens imaginable, taking into account the shirt holes and the stride lengths of each. Their romance flourishes in a chawl of Mumbai ; it is a kind of movie of the time – Titanic Pardesh and Kuch Kuch Hota Hai are referred to visually, as is Bhansali himself even Hum Dil De Chuke Sanam . All these films have the reputation of putting the lovers in the hands of the individual; even then, Malaal is unthinkable. This is not necessarily a compliment, considering the frequency with which it modifies moods, tones and arcs of characters.
Casting: Meezaan, Sharmin Segal
Director: Mangesh Hadawale
Meezaan plays the eccentric and exciting hero of cricket – a newcomer who lands so hard between two a young Sanjay Dutt and Ranbir Kapoor; I'm surprised he's not called Sanju. He is called Shiva, a Marathi slug with hard speeches that is noticed by Astha and played by Sharmin. Astha's parents are North Indians, have had a difficult time, and pbaded to Shiva chawl . There is a brief build-up in the opening moments on anti-immigrant sentiments in Mumbai. A local leader (Sameer Dharmadhikari) cultivates Shiva as his thug. When Shiva's mother sent poha to hot for her neighbors, the gesture is reciprocal with littis . It's a friendly exchange, but Mangesh is meticulous enough to capture the uneasiness of the characters in the unknown kitchen.
These details are abandoned in the second half, when the film (from the Tamil hit 7G Rainbow Colony) becomes a traditional cross-star romance. "Clbad", as always, becomes the ultimate deterrent – not politics or cultural conflict. Mangesh is an excellent director who works with big scenes, but who struggles to make his feelings economically. The lovers embark on full-length songs choreographed around a missing medallion, an accounting textbook and a Siddhi Vinayak output. There is a strong Marathi influence in the music; I found Udhal Ho especially zingy, an excellent string of dancers revolving around 'Fu Bai Fu, Fugadi Fu' in the choir.
Malaal sometimes becomes incredibly bizarre. Shiva has a condition to stop smoking and drinking: that his girlfriend take a puff and a sip. Tired of his riots, Astha promises to marry Shiva if he pbades his exams. The following scene, she pulls him out of business for slapping the examiner. I wonder if all this is a timely counterpoint to the haters of Kabir Singh by verifying that some men are better off than crazy. The end is a melodramatic punch, although it does not lack the bhansalism necessary to be sold effectively. "Magar tujhe nahi chor sakta." The line is a cliché, but it bites. Decades may pbad, but Hindi film characters will remain terrible listeners. Some words of affection are warnings, really.
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