Abhishek Kapoor directs Katrina Kaif, Aditya Roy Kapoor and Tabu in Fitoor, a story adapted by Supratik Sen from Charles Dickens’ The Great Expectations. Kapoor last adapted the Chetan Bhagat’s three mistakes of my life into the brilliant Kai Po Che and given what he milked out of a less than stellar source material the expectations would have been sky high given Dickens’ rich and fertile literary ground that Kapoor had to play with. Does Kapoor and team meet the great expectations or do they drift aimlessly into the abyss like an untethered kite? Read on to find out more.
Kapoor and Sen have stayed quiet true to the original, Aditya Roy Kapoor is Noor or Dickens’ Pip, Katrina is Firdaus, Estella in the original and Tabu is Hazrat Begum the eccentric Mrs. Haversham . Besides these three there are a lot of other characters from Dickens’ Novel that find themselves adapted into the Indian context in Fitoor.
When we first meet Noor and Firdaus we see a beautiful and ethereal Firdaus and an awestruck and an inadequate feeling Noor. Begum Hazrat sees the first inkling of puppy love in Noor’s eyes and seems to encourage it by asking him to come to the Mansion more often but then following the violence in the valley which kills Noor’s sister the Begum sends Firdaus away to London to study leaving Noor longing for her. Years later Noor a budding artist is given a scholarship from a mysterious benefactor who he assumes is the Begum herself. Moving to Delhi Noor meets Firdaus and confesses his love which she rejects as she is set to be engaged to Bilal. This is the biggest departure from The Great Expectations because where in the novel we clearly see that Estella is cold and unloving, Firdaus is seemingly struggling to decide between Noor and Bilal. This is also where the story wobbles because it becomes about this love story more than the over-arching theme of growth of Pip/Noor.
Aditya Roy Kapoor who caused me incessant grief as the drunken mess in Yeh Jawani hai Deewani surprises with a restrained performance. He has intensity in his quiet demeanor that is perfect for this performance. Katrina Kaif as Firdaus is beautiful but fails to bring a sense of haughtiness that is essential for the character of Estella. Without the cool aloofness the climactic realization of love does not carry the same weight that it would have. Tabu as Begum Hazrat is exceptional. There is a sense of discomfort that you feel when you see her approach young Noor, there is a tragic beauty in her when you see her lie on her chaise smoking a hukka. Her demeanor and actions at the beginning of the story make sense when you are given the back story to her failed attempt at love. Hers is the best written character amongst the main three. Her penchant for wearing ostentatious jewelry only makes sense when you find out her back story.
It is rare that one would complain that a Bollywood movie needs to be longer. But that is exactly what was needed; at least another 30 minutes and the second half could have carried more weight than just stumbling to a satisfactory conclusion. As in the novel the guilt of Mrs. Haversham at manipulating Pip and Estella, the connections between Pip’s benefactor, Estella’s biological parents and Mrs. Haversham’s Fiancé who jilted her and how all of this ties back to Pip and the eventual reconciliation between Pip and Estella would have made for a more compelling second half than Kapoor and Sen manage with Fitoor. But it is not to be and we must judge Fitoor for what it is and in that it is a solid attempt at adapting a one of the most influential literary works which Kapoor manages to with a justifiable degree of success. The cinematography is gorgeous and the production value of the highest kind when it comes to Noor’s works of art. Buoyed by strong performances from Aditya Roy Kapoor and Tabu it is a very competent film that leaves you wanting more. While it lacks the intensity of Haider a Shakespearean adaptation also set in Kashmir Fitoor is not lacking in allegories. Maybe I read too much into the movie but I could definitely see an Indo-Pak-Kashmir metaphor happening and it is commendable that Indian directors are aiming for a subtext no matter if the end result is sub-par at least they are trying.