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By Taran Adarsh, February 1, 2002 - 11:46 IST
Jhamu Sughand's FILHAAL, written-directed by Meghna Gulzar, is about friendship, love, marriage, life
Rewa (Tabu), Dhruv (Sanjay Suri), Sia (Sushmita Sen) and Saahil (Palash Sen) are four people whose lives got entangled at various levels due to a twist of fate.
Rewa and Sia were the best of friends, having known each other since kindergarten days. They were similar in so many ways, and yet different too. While Sia was ambitious and career-oriented, Rewa was more of romantic, looking forward to a blissful life with a husband and children.
Her dreams crystallized in Dhruv, whom she fell in love with and married. Everyone expected Sia to follow suit, especially Saahil, who had proposed to Sia three times already. But Sia was clear just like men need to be settled in their careers before they get married, so should women. Saahil would have to wait.
FILHAAL is the story of these four people and their journey through life.
The theme surrogate motherhood has been witnessed twice in the past, in DOOSRI DULHAN and CHORI CHORI CHUPKE CHUPKE. Unfortunately, in FILHAAL, the thought has been badly mutilated by director Meghna Gulzar.
Meghna, who has also penned the script of this enterprise, has treated a sensitive story of two friends childishly. Drawbacks there are plenty of them. Redeeming features very few!
To start with, CHORI CHORI CHUPKE CHUPKE is still fresh in the minds of the viewers. Therefore, there is no novelty whatsoever in the story.
Secondly, the amateurish treatment for a sensitive theme. What could've been a poignant tale of two friends with motherhood, sacrifice et al, tapers down to a fare that no doubt looks good visually, but lacks the holding power to keep you engrossed.
Thirdly, the screenplay abounds in confusion. Some instances
At the very outset, the viewer is given to understand that Tabu has had a miscarriage and would never be able to conceive again (no reasons are offered for that!), but as the drama unfolds, you learn that Tabu is pregnant again (no explanations offered once again!), thereby confusing the viewer terribly.
Prior to that, the introduction of Sanjay Suri with a pregnant Sushmita Sen in the hospital looks too abrupt. In fact, you start wondering whether the reels have interchanged in the projection room of the cinema hall. For, the sequence prior to this is not co-related absolutely. This adds to the puzzlement all the more.
The story actually concludes when Sushmita offers to carry Tabu and Sanjay Suri's baby in her womb. The sequences thereafter, like the rift between the two friends and Sushmita's romantic side with Palash Sen, give the impression that the narrative is being stretched for no rhyme or reason.
Moreover, the placement of at least three songs in the film is inappropriate. All the songs in the first half come at the right point, but in the post-interval portions, the songs come as a hindrance in the narrative. Actually, a song breaks out even though there isn't any valid situation whatsoever.
Even the characterisation of the two friends is ill-defined --
* Tabu suddenly starts feeling jealous of Sushmita when the latter starts mingling with Sanjay Suri, conveniently forgetting the fact that Sushmita has agreed to carry the child only for Tabu's sake only. Later, Tabu starts taunting Sushmita and even lashes out at her when Sushmita starts painting the room, making Tabu's character vampish.
* Sushmita is averse to the idea of getting married until and unless she has established herself in her profession, often giving a cold shoulder to Palash Sen in the process, who keeps proposing her time and again. But later, she has a sudden change of heart and decides to carry her friend's child, not being bothered about her unwed status or the fact that she never wanted to get pregnant. In fact, this was the main reason why she didn't want to marry Palash.
Later, when Palash learns of her pregnancy and doesn't call Sush on the 'special day', she suddenly starts behaving as if all hell broke loose and that her relationship with Palash had gone kaput. But in the final scene, she is very conveniently shown walking hand in hand with Palash, again conveniently forgetting all about her career and ambitions.
However, Meghna Gulzar has handled a few dramatic sequences with aplomb. The sequence when Tabu lashes out at Sushmita is brilliantly executed. But the screenplay is an absolute letdown. The viewer doesn't relate to or sympathise with any of the characters that's the biggest flaw of the film. A few emotional scenes also fall flat, mainly the ones between Sushmita and Palash.
Even otherwise, Meghna seems confused throughout, not knowing whether to make a commercial film or middle-of-the-road cinema. What adds to the woes is the lethargic pace the story unfolds on the screen. In today's times, the cinegoers don't have the mindset and the patience to watch such snail-paced flicks.
Anu Maliik's music has two decent numbers 'Le Chale Doliyon Mein' and 'Filhaal'. But, like pointed above, the three songs in the second half need to be deleted instantaneously for a better impact.
Manmohan Singh's cinematography is fantastic. The outdoor locales have been beautifully captured on celluloid. Dialogues are quite good.
Tabu, Sushmita Sen and Sanjay Suri enact their parts with conviction, but able performances alone cannot enhance a weak script. Palash Sen should stick to what he is in real life singer. He has no looks, nor the talent whatsoever to be a hero.
On the whole, FILHAAL is a weak film in all respects. It may appeal to a few pseudos, but will face an uphill task at the box-office. Disappointing.
 
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