An Open Letter To Sanjay Leela Bhansali


An Open Letter To Sanjay Leela Bhansali
Dear Sanjay Leela Bhansali

Your eye for detail in film-making is tremendous. Especially where detailing of characters and visualization is concerned.

You take great pains to ensure the right clothes are worn in the right manner and the actor is portrayed with the right hairdo.
You also take great pains to see that the lighting fits the mood of the moment and the characters move on screen as if in symphony.

This has been seen across all your movies till date. Be it BLACK, DEVDAS or SAAWARIYA or the many other movies you have directed.

The picturization of the songs is a delight coupled with the costumes, camera angles and dances. It is a complete treat for the viewer.

You also take great pains in set pieces. Like for instance, there are a few scenes in the desert in your recent film, GOLIYON KI RAASLEELA RAM LEELA, where even a passing animal adds value to the frame. It’s picture perfect.

But pray, why don’t you take pains to ensure the script is as effective as your love for painting a super picture?

IN GKRLRL, there is no script. Everything goes haywire after you somewhat keep the viewer hooked in the first 20 minutes.

First of all, you are in a hurry to get Ram and Leela to meet. Then, you have Leela parking her lips on Ram’s in their very first meeting even though she knows that he is from a community opposed to her family. So how does one justify this display of wanton passion? Surely, Leela is not a despo!

Then you also have Ram walking in and out of her mansion and into her room with no one noticing his coming in and going out.

You also have this bizarre gun-shooting episode where both their brothers are aiming at alcohol glasses kept either on the head or the shoulder. Of course, someone will get killed. It’s a bullet after all. Your only defense in all this mayhem is your title, you would say… But that is no justification for this mindless act where a young life can be snuffed out it a jiffy.

But the most bizarre part was when Ram and Leela are separated and Ram does not even bother to look into his phone to see the many messages Leela has sent him and also her missed calls. What were you thinking SLB?

That is when the whole plot came tumbling down like a pack of cards. After that it was pure ‘hit and miss’. You paid more attention to detailing in aesthetics than in the actual meat of the product, the plot!

It was like a brilliant brass band playing with sub-standard singers. But then, even a good brass band will be able to negate the impact of bad singers simply by their sound and genius. They will at least be able to brainwash the audience by having them focus more on the trumpets and trombones than on the singers.

But you were not able to do even that. The plot ensured that the brilliant set-pieces and your eye for detailing were brought to nought.

It’s rare to find a film-maker who gives thought to such detailing as you do. If you put in more energies in the script, I guess, it will be a lethal combination.

Finally, I would like to know as to why you cloned your ending to ISHAQZAADE?

Surely, it cannot be creative bankruptcy! To my mind, there was no need for them to die the way they did!

It was comical, to say the least!

God Bless You
Martin D’Souza

(This weekly column tries to be as honest as honest can be…)