aliasanythingyouwant A new restraint may be creeping into Bollywood, if movies like Parineeta are any indication. This may be good news for those who think it's high time the Indian film industry "grew-up," but for anyone who likes the pretty soap opera fluff Bollywood has been churning out for decades, who finds it a reasonable substitute for real Hollywood melodrama, which of course no longer exists, this may not be a welcome development. Some may laugh at perfectly-timed, punctuative thunder-claps (always going off at particularly dramatic moments in the story), might think them quaint, but those who appreciate a good overwrought extravaganza, filled with silly devices, absurdly convenient turns-of-plot and hammy histrionics, can only be disheartened at this apparent rejection of classic form in favor of a more modern, less over-the-top approach.Of course "restraint" is a relative term; Parineeta may be less hysterical, less willing to aim for the melodramatic moon than Bollywood movies have traditionally been, but it still has its cornball charms. The plot, culled from a famed novel by Saratchandra Chatterjee, is classic Bollywood: Shekhar (Saif Ali Khan) and Lolita (Vidya Balan) have been sweethearts since childhood, he living with his wealthy parents and she with her adoptive middle-class family next door. A dark cloud hangs over their budding romance in the form of a family debt; Lolita's adoptive father Gurucharan (Achyut Potdar) owes Shekhar's father, ruthless business-man Nabin Roy (Sabyasachi Chakravarthy), money, and if the debt isn't paid Gurucharan's lavish ancestral home will be taken away and turned into a hotel. Help arrives in the form of Girish Babu (Sanjay Dutt), a wealthy relative of a family friend, who agrees to pay the debt, presumably in return for Lolita's hand in marriage; this inflames Shekhar's jealousies, pushing him closer to the woman, Gayatri (Aishwarya Rai look-alike Diya Mirza), chosen for him by his family over the undesirable Lolita. It's the kind of situation that would easily resolve itself if the characters just slowed down and thought about things, but of course, in Bollywood, rash over-reaction is the order of the day. There's nothing more predictable than this kind of melodramatic plot, and of course that is the entire point. One doesn't watch Wile E. Coyote chase the Road Runner hoping that, for once, Wile E. WON'T fall off the cliff; one EXPECTS him to fall off the cliff, WANTS him to fall off the cliff. And one watches a film like Parineeta wanting, indeed expecting, more-or-less the same thing, people flying over figurative cliffs in the name of love, pride and family honor.The elements are all there - the romance between people from different classes, the misunderstandings leading to crazed, self-destructive acts, the family loyalties in whose name one's desires must be set aside - but the heat isn't turned all the way up, the movie never achieves the level of hysteria one has become accustomed to. Director Pradeep Sarkar remains faithful to the conventions of Indian melodrama while demonstrating a certain unwillingness to cut things all the way loose. The problem with Parineeta is that we halfway believe what we're seeing; the movie veers a little too close to actual psychological realism for it to work as a full-on musical soap opera in the great Bollywood tradition. There's nothing more toxic to melodrama than naturalism; what killed the Hollywood soap opera wasn't changing audience tastes but changing directorial and acting ones, and the same thing may be happening in India now. When Hollywood threw off the old-fashioned theatricality and started striving for "honesty" and "truth," that was when the classic dramatic forms, which had sustained the industry from the days of Griffith on through Sirk, started falling by the wayside. You can't buy melodrama if the actors playing it aren't willing to stretch toward caricature, and if the directors staging it aren't willing to let it all hang out. The new directors, like Sarkar, seem to be hedging their bets; they want to play to the galleries, but may have begun thinking that the old Bollywood forms are out-moded, that what once made for great spectacle is now corny, and that the only way to protect themselves is by holding back. Bollywood directors, and young actors like Saif Ali Khan, may be ready for more realistic, daring material, but the stories they're getting are the same old fluff, and the only choice they have is to compromise, to play the game the same way it's always been played but without the same gusto, the same commitment. The result is something that looks like Bollywood and sometimes feels like Bollywood, but just seems watered-down.There are things to enjoy about Parineeta even if it doesn't live up to the usual Bollywood standard. There's a marvelous performance by the understatedly commanding Sanjay Dutt as Girish, the classic good guy stuck in an uncomfortable position (the guy the girl should love but doesn't). There's a fabulous musical number set in a 1960s nightclub featuring the sultry Rekha (it's the only memorable number in the movie; Sarkar also seems less-than-enthused about musical staging, which seems almost sacrilegious). There's the assurance of Saif Ali Khan as the romantic lead, the musician Shekhar, and there's the moist-eyed beauty of Vidya Balan as Lolita the orphan girl. One wishes it all came together better, was pushed through with a little more force, a little more enthusiasm. Parineeta is accomplished but tame.

Aam Aadmi When a storyteller weaves a fascinating tale that holds you spellbound, it does not matter whether it was a book, a drama, a film, a recitation or some other art form. No matter how many hours elapse the characters seem to pull you into their lives deeper and deeper, until you yourself become an indistinguishable part of the picture. For that is what 'a truly unforgettable' experience is all about. And indeed, its the very essence of Parineeta.Yes, the unmistakable signs of a master craftsman at work. Attempting a third adaptation of Saratchandra Chatterjee's immortal classic, former ad-maker and inimitable director PRadeep Sarkar does a marvelous job at a rendition so fresh, so vivid and fragrant, you can scarcely remember the original! Set in Kolkata of the 1960s, it blossoms around the lives of two lovers whom destiny has sought to separate. Father-son conflict heightens the pangs of guilt, the vain hero's deep, foreboding yearning uncherished, and his innocent lover's reticent desire unfulfilled. Debutante Vidya Balan has delivered a fantastic performance against the more experienced Saif, Raima and Sanjay. Venerable actor Sabyasachi is the epitome of a faltering ego gone extremely overboard. Music director Shantanu Moitra's score and the songs haunt you long after. Six months after watching the movie, they are still with you, wherever you go!Hats off to Sarkar and his team for this glimpse into Bengali culture, and for reminding us that the soul of creativity is very much alive and kicking. Such astute artists are desperately needed to combat the dual onslaught of Bollywood / Hollywood on the world of enjoyable cinema.Narrative ......... 10/10Drama ............... 9/10Visual Appeal .. 10/10This is a movie to watch many times over again, and to include in one's prized collection to grow old with.

naidu88669 I have never commented on a movie before, but I would really like to state how much I enjoyed the film "Parineeta". I am from the India diaspora (third generation) and though I don't speak any Indian languages, I enjoy watching Hindi films.This is the first time I am seeing Saif Ali Khan in such a mature role which is very becoming of his character. His acting was superb. He could even act as The Great Gatsby, rendering a very romantic and longing portrayal of a fragile love circumstance. His attire and demeanor, expressions were very appealing. Hats off to the direction of this wonderful story of an earlier time.Vidya is also extremely beautiful. Her acting was fantastic for a newcomer. She has that rare beauty that is not often seen in the film actresses these days. Please bring her in more films, especially these types of dramatic roles. I would love to see these two in another film.I have seen the film twice.The music was very endearing, romantic and very suitable for this film.Wonderful movie.

a-mukerji The movie is enchanting, the songs are gorgeously choreographed in picteresque settings. The efforts at initial composition of the 'Piu Bole' song, and the boat swaying to rhythm, are so natural! Loleeta's expressions with her eyes are uncanny and most beautiful. The movie has the feel of an art exhibit. I can't decide whether I like more the sad songs or the happy songs. The actors are most natural.Disc two 'special features' is also spell binding. To see Director Prodeep Sarkar act out the parts for Shekhar and Loleeta is an eye opener. Director Sarkar sees every thing in his mind and then recreates it on film overcoming all obstacles. I loved how the music director Shantanu Moitra and Vidhu Vinod Chopra work on the composition of the 'Piu Bole' song. Director Sarkar's successful efforts in grooming Vidya are noteworthy.A personal note: I visited Calcutta for a month each year from 1955 through 1967, and then lived there till 1970. My father knew he would pick the right girl for me, any girl I might pick would be well beneath my status! The girl I picked wore the simple necklace I gave her every day for the two years before I married her, and every day for the thirty years since I have married her.This movie is a must see, and I own a Two Disc set to see again and again!