After the intermission, he makes the wise decision to depart somewhat from the basic template, at the risk of a dip in pace, but which builds a considerable amount of suspense in the lead up the climax even if you know "Romeo and Juliet" like the back of your hand, Bhansali's shift into more of a traditional warring-clans masala story introduces no small degree of uncertainty about how it's all going to end, which is quite the achievement with a text as familiar as "R&J." The feeling is very much mutual, and, per "Romeo and Juliet," the lovers have to deal with the conflict between their respective families, and the repercussions of skirmishes between them.īhansali hews fairly close to Shakespeare in the first half of the film, peppering the dialogue with references to the play and even including some exchanges in rhymed verse.
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One fateful day Ram sees, and instantly falls in love with, his female counterpart in the rival clan, Leela ( Deepika Padukone). The heir apparent to the poorer of the two clans, Ram ( Ranveer Singh), disdains the gun violence that takes up so much of their day-to-day existence, preferring to hang out with his buddies and sell porn DVDs. (For viewers outside the Indian subcontinent, the film is available online at a premium rate.The scene is laid in fair Gujarat, in northwest India, where two rival clans have been warring for some 500 years and find themselves, in the present day, presiding over competing criminal empires, and spend their days armed to the teeth in open conflict in the streets of their village. Overall, ‘Leela’ is one of those inconclusive movies that provoke disturbing questions about the vulnerabilities of man’s natural instincts and is also an attempt to mock the average Malayali’s hypocritical moral values and ethics. Parvathy Nambiar does a decent job as ‘Leela’, considering that she has to maintain a dead face with hopeless eyes throughout her shots. Indrans, meanwhile has nothing much to prove after his much appraised role in ‘Munroe thuruth’, essaying his role ‘Dasappan’ with ease. Vijayaraghavan also shines as ‘Pillechan’ with his perfect body language and gestures of an introverted old man while for Jagadeesh, the role of ‘Thankappan’ will be one to be proud of, in his recent career studded with stereotypical buffoon roles. The director explored the versatility of Biju Menon by handing him complex situations that are comparable with Mohanlal’s role in ‘Thoovanathumbikal’. Menon looked good inside his comfort zone of light humour and instinctive dialogue delivery.
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Renjith has used his actors to full effect especially Biju Menon who handles the main character. The climax is one pivotal move that reassures the truth that the power of nature is beyond man’s imagination and even a slight change in its behaviour can ruin all the plans and dreams that men weave, irrespective of their motives. The close up shots of an elephant and Kuttiyappan in the climax reminded of the imposing shots of similar kind from the critically acclaimed French movie ‘Dheepan’. The director has managed to visualise the climax sequences without losing the much-needed severity that the script demanded, over shadowing the limitations he must have faced until then in visualizing the original story. The excessive use of leftist symbols and images and the inclusion of a delusional angel to add surrealism were distractions while chasing the real Kuttiyappan on screen. The conversations between Kuttiyappan and Dasappan (Indrans), a pimp, has glimpses of subdued dark humour.
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There is a lack of sharpness in dialogues to evoke the ambiguous nature of the movie, which the script writer did dexterously well in Venu’s ‘Munnarayippu’. Unni R, who wrote the screenplay, doesn’t seem comfortable in converting his own story while attempting to find the cinematic scope in it. The viewer is never let off from the hook of curiosity once Kuttiyappan with his friend ‘Pillechan’(Vijayaraghavan) ventures out to find an elephant and a girl to quench one of his insane cravings, revealed only at the climax.