Rakeysh Omprakash Mehra directs debutantes Harshvardhan Kapoor and Saiyami Kher in Mirzya. Mirzya is the story of the famed folk tale of Mirza Sahiba the star crossed lovers who meet a tragic end.
Monish and Suchitra are childhood friends who go to school together. When Suchitra covers for Monish when he hasn’t done his homework she is punished. Monish enraged by such cruel treatment of her beloved takes drastic action and is sent to the correction home for young criminals. Suchitra moves away distraught. Years later Suchitra is engaged to the prince of Jaisalmer Rajasthan and Monish having escaped the remand home and changed his name works as the horse groomer for the prince fully aware of Suchitra. What follows from here on is the tale on the lines of the Mirza-Sahiba.
Rakeysh Mehra used the dual timeline to tell the story in the landmark Rang De Basanti tries it once again with Mirzya. There is Mirzya the warrior who bids for the princess’s hand and then elopes with her on her wedding night only to be pursued by the princess’ clan and her fiancé and there is Monish and Suchitra the modern day Mirzya and Sahiba. Where Mehra succeeded in Rang De Basanti was the relentless pacing of the movie that kept the audience engrossed and the two timelines never repeated what was happening by merely changing the props. With Mirzya the story is literally scene for scene retelling of the same snippets of the stories in the two timelines. It isn’t entirely unpleasant simply because of the jaw dropping scenery involved. The ancient tale is set on the virgin landscapes of Leh and Ladakh and the contemporary is set amidst the golden sands of Rajasthan, arguably two of the most beautiful places not only in India but the world over.
Polish cinematographer Pawel Dyllus frames each scene as if a couplet of poetry. Every tragic scene is captured so beautifully that all you can do is sigh contentedly. The music by Shankar Ehsaan Loy coupled with the Gulzar’s heartrending lyrics is the absolute stand out of the movie, a little restraint perhaps would have proved to be more effective the “nadiyaa” song seems a throw away but the Hichchaki and the title track are goose-bump inducing. The frenzied dancing of the blacksmith is the meeting of the two flowers of yesteryear and I for once commend the director for making that visual choice instead of the writhing bodies of the hero and heroine. The imagery on the walls of the village is also a nice touch.
Harshvardhan Kapoor seems to have inherited his father’s ruffian charm. As a debutante he is composed and charming and entirely believable as the Rajasthani horse groomer. I cannot wait to see what he does next. Saiyami Kher is a stunning beauty with flyaway curls a plenty and bambi like eyes that hold your attention. She however lacks the gravitas to pull off the role of the tragic heroine Sahiba and her performance seems a little superfluous. In the final scenes though she does full justice to Sabyasachi wedding lehenga running across the unending dessert as if from the pages of some editorial. A few diction lessons and practising a resting face will do her good in the long run. Anjali Patil as Zeenat in a minuscule role leaves a lasting impression and Anuj Pandey as Prince Karan is mostly believable.
Go for the visuals, stay for the soulful lyrics and leave with the spine tingling music still buzzing in your head. Every frame is a moving painting, every word a story of heartbreak in itself and every note a life affirming experience. Go watch Mirzya!