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ISHAQZAADE: New frontiers by Yash Raj Films
May 14, 2012 02:15:48 PM IST Enkayaar, Glamsham Editorial
It may be fortuitous that ISHAQZAADE has released around Mothers' Day, but in ISHAQZAADE the role of mother has been underplayed after a long time and she has been used as a catalysis for the lead actors turning a new leaf.
The singular feature of ISHAQZAADE has been the performance of Parineeti Chopra in the way she goes to buy the gun, the way she spits fire when confronted and the sense of inexplicable loss that she is able to communicate while running away from her father aiming shot at her, the dilemma of a daughter not able to conjure how could a father fire at the daughter. After a long time, one gets to see a performance from a female star which would be talked about for quite a long time.
ISHAQZAADE has also created a new benchmark for Yash Raj Films in the manner in which the love making scene has been given the footage in the film. It had never happened in such detail hitherto in a Yash Raj Film, but it is also indicative of the change of baton in the banner, with Aditya Chopra is coming into control of the whole business and therefore not hesitating twice before creating the intimate moments on the screen in details. The generational shift is now manifesting in giving eloquent expressions to hitherto taboo subjects on screen.
ISHAQZAADE has not bothered to venture out of the small town where it is situated even in the dream sequence and it again is a point of departure for Yash Raj Films as dream sequences were used as liberties to shoot in foreign locales. The sets of location have been captured in authentic detail right from the opening shot where the name of the school on the rickshaw is spelt out as 'Convant', rather than convent, an indication of the aspirational nature of the small time to aspire to reach metropolitan cities by using English as the channel vehicle, and it is owing to the minute details that Habib Faisal has.
In Yash Raj Films one rarely saw a tawaif as a character, but underlining the changing times in the banner there is Gauhar Khan who has sweetly played the role of a tawaif with great panache. The dance sequences have an element of differentiation and it probably is owing to the fact that Aditya Chopra has used Rekha Chinni Prakash as the choreographer, so the dance sequences in the film do not seem to appear as if they are an extension of a previous film, but have a distinct element of freshness imbedded in them.
One does not know whether ISHAQZAADE would be a deterrent for the lovers who belong to different communities and religions to continue to fight against the society, as they had to embrace death in the film, but it indeed underlines the fact that were it not for politics and pecuniary gains the Indian society could embrace this new sociological premise, which is struggling to gain green shoots.