This post hasn't been a draft for long, though it is about the movie of the same title that hit theaters a few months ago. I watched the film very recently. The night of Saturday the last, to be precise, when Star Plus brought ZNMD to the TV at our home. I am not a movie-goer. That one has to, for the duration of the movie, bear with a constantly loud audio, the purpose of which perhaps is to intensify the experience, is my pet peeve. I prefer being able to raise the volume in case the on-screen conversation is interesting, or the song is melodious, while a push of the mute button would be in order when someone's sobbing superfluously, or the singer has crooned through his nose but the picturization is worth a watch. The CD/DVD would offer more control in terms of letting one slow, pause, fast forward or rewind the flow. If the picture, however, is dreary, one might have a lighter wallet and heavier heart. Not a favourable turn of events. Renting the disc from the nearby video library has problems that range from a dissatisfying, hazy print to the more serious concern of encouraging piracy. Unlike Potterheads, Twihards and the hordes who swoon over a franchise, or a celluloid star, I am happy to be a frugal, patient and, dare I say it, ethical movie enjoyer. There is the added privilege of surfing away the bad bits, or switching to a more interesting programme.
Anyway, returning to the topic, the movie begins with the three male protagonists -- yes, it's a Bollywood multi-starrer in which, refreshingly, none of the lead actors ends up being a sidekick to the other -- planning a trip to Spain. The trip is to be an extended bachelor party for one of them, Kabir, played by Abhay Deol. There is a hint of their bonhomie as Kabir insists on it being a trip for the trio. He is in favour of deferring the trip than have absentees. This forces the hand of even the workaholic, financial broker Arjun, played by Hrithik Roshan. The choice seemed odd considering there are actors more wooden than him who might have fit the bill better. The reminiscence of the wordly ways of their English teacher, too, is nostalgic and indicative of the shared bond among the three. Imran is the third, a role essayed by Farhan Akhtar. Yet, the characteristic flashbacks to the school ground, classroom that depicts the protagonists in their younger days and brings in child actors has been well avoided. A rift between Arjun and Imran about a girl too is only hinted at. In fact, the girl's presence is only by name. No photographs, or recollections in video.
That each of the three share equal screen space, without the camera or the plot dwelling on only one or two of them, keeps the narrative moving. The Spanish scenery is well captured, as are the traditional Encierro and La Tomatina festival, and the adventurous activities of deep-sea diving, when Katrina as Laila enters the picture, and sky diving. Some twist, or tilt, of the plot is blended with the sights and keeps the film from lapsing into an advert for Spanish tourism.
The highlight, to me, is the handling of the lip lock between Arjun and Laila. Unlike the solely flashy kisses that are tossed about in many movies, this one summarizes the passionate longing between the two characters better than a colourful song and dance routine might have done by itself, or with the aid of a page long maundering.
Naseeruddin Shah's short, but cold as demanded, appearance as an artist unwilling to be bridled is to the point. The director's resentment for undue flashbacks and to dragging can be seen as Imran reconciles with his mother over a phone call that ends with 'I love you' after a brief apology, instead of there being a sepia-tinted recall followed by a wail over several minutes. Imran's rapprochement with Arjun is equally concise. Neither of the events, however, are rendered frivolous and the poignancy is kept intact.
During the course of the movie, each of the protagonists drops a distinct encumbrance with the help of the others, justifying the existence of all the characters. How they go about these riddances makes up the plot. Hrithik Roshan is proved the apt choice as he breaks into the joyous dance sequences like few others can. Abhay Deol is good as the conscious, sensitive fiancé of an insecure Natasha (Kalki Koechlin). Farhan Akhtar lets Imran lighten the mood at various stages when the other characters grow contemplative. He has voiced some appealing verses that hang over the views, turning attention from the characters, in a wonderful manner that is infused with feelings. The verses, in my humble opinion, let one relate to them and are instructive. Katrina Kaif has a more meaty role whilst continuing to be the apple of many an eye.
None of the songs seem out of place, and they are all pleasing. The director keeps the narration crisp and sleek throughout. All things considered, the movie was worth the watch despite the commercial breaks stretching themselves in time as the film progressed.
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