I am having a very tough time understanding, why Taran gave OSO 4 stars and Saawariya 1.5. I am also having a equally tough time understanding why most of the Indian film industry is biased against good filmmakers such as the Sanjay Bhansalis, Vinod Chopras, Anurag Kashyaps and the likes. If OSO deserved 4 stars, Saawariya deserved 4.5. If Farah Khan can make a film where you leave logic before you watch the film, why are critics bashing up Sanjay Bhansali for telling his story in a fairytale town? Yes, in terms of business, OSO is doing and will continue to do good, mainly because of SRK. But it is very sad to see a good film like Saawariya being trashed/thrashed like that. Now, Saawariya is not the best Sanjay Bhansali movie, but when compared to OSO, it is much better. Now OSO is an okay entertainer. I understand that OSO was never meant to be artistic, but cinema is a form of art isn't it? It lacks the art that Saawariya in my personal opinion has lots of. I pose a question to Farah. If OSO was meant to be that non artistic, why waste the talent of SRK? Just because he is a friend? I very much applaud the attempt, but from talking to people here, OSO has failed. Farah, I don't have any grudge against you, but maybe film making is not your cup of tea. I personally think that you make your actors overact. But then again, OSO is doing better than Saawariya, and that is what counts these days, doesn't it? Only the numbers count, and not the cinema, not the art. Cinema (even the masala pictures) should have something to convey, whether it is a message or art. Unfortunately, OSO does none. Anurag Kashyap's No Smoking conveyed a message, it was beautifully shot, good story, maybe a little melodramatic, but good nevertheless. But did it get what it deserved in India? Unfortunately not. It was acclaimed in other parts of the world. O wait, we are not talking about No Smoking are we? It just makes me upset when an established critique like Taran Adarsh gives good points to a bad movie, but gives bad points to a good one.
