Metros Ke Aage Duniya Aur Bhi Hai…
An old wine in a new bottle - a touching story by Ashapoorna Devi straight from the heart. Let’s see how Kaushik Ghatak translates this in a modern day scenario.
Film begins with the Grih-Pravesh of the newly wed Anuj and Natasha (Vishal Malhotra and Chhavi Mittal), with the tune of 70’s song “Bhabhi Ki Ungli Mein Heere Ka Chhalla” playing in the background. Those who are not aware till now what the source of this film is, get an idea that it’s gonna be a remake of Rajshri’s yesteryear classic “Tapasya”. During the marriage customs, a gentleman Prem Ajmera (Sonu Sood) also joins the family. Who is Prem and how does he relate to this family and Anuj’s elder sister Chandni (Esha Koppikar), the story starts with a flashback. Mr Srivastava (Alok Nath) lives with his three children Chandni, Anuj and Sandhya (later played by Amrita Prakash). Chandni is a classically trained singer and during a singing competition, she meets Prem. Both of them qualify for the main round, and slowly they start bonding together well. Their marriage is fixed, but on that day Chandni’s father expires. Shattered Chandni vows not to marry till Anuj and Sandhya grow up and settle in life. Prem waits for her for 12 long years. After Vishal gets a job and marries Natasha, they also are set to marry. Unfortunately, Natasha turns out to be a home-breaker and walks out with Anuj to live separately. Chandni again postpones her marriage to support Sandhya. Rest of the story shows Natasha’s change of heart and how Chandni helps Sandhya in settling and finally her own marriage with Prem.
A simple story told in the simplest way possible, is the USP of the film. None of the characters is too complicated or too grey in nature. Unlike the original, the story is based on two singers, thereby making more scope for songs in the script. Raakhee won filmfare award for her strong performance in “Tapasya”, but in the revised script Esha’s role has been diluted to a certain extent. Art direction is good again, after the previously successful “Vivah”. It would have done well to the film if certain elements of the changing times were incorporated in the script to make it more practical. Kaushik Ghatak has used all his directorial experience of “Kyunki…Saas Bhi Kabhi Bahu Thi” in this film and that is one of the reasons why some of the scenes become over-dramatic and less believable. On any given day, Anil Ganguli’s “Tapasya” will score heavily on this film.
Performances: Sonu Sood plays his role with conviction. Esha has got the role of a lifetime and she does fine (provided we don’t compare her with Raakhee’s performance). Rest of the supporting cast does well. The grey shades in Asrani and Manju Bansal’s characters in “Tapasya” have already been reduced so Vishal and Chhavi don’t get ample scope in their roles, but still do alright.
Music: The master of Hindi poetry, Ravindra Jain is in form here, with his impeccable lines in “Dekhe Akele, Hum Ne Solah Mele”, “Jhirmir Jhirmir Meha Barse”, “Kya Soch Ke Aaye The”, “Balaa Ka Husn” and “Mujh Mein Zinda Hai Wo” composed in simple and melodious tunes. Shreya Ghoshal has sung wonderfully. Shaan also does well in a couple of songs, but not in his full form in the complete album. The music is heavily under-promoted.