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Still, there’s enough to keep us mildly diverted for a while – some beautifully crafted lines (one of which includes one of Bhansali’s favourite words, gharoor, arrogance), some amiable comedy (involving an NRI suitor for Leela), the sensual imagery in Ang laga de re (the film’s best song, where Leela entices Ram with incense billowing from her palm), and a lot of rowdy energy, notably in a scene where rival parties take shots at the bottles of beer in each other’s hands.But a little before the halfway mark, the film begins to diverge from the Romeo and Juliet template, and the characters undergo such drastic transformations that I, for one, found it very difficult to wrap my head (or heart) around the remainder of the narrative.(And her passionate scribbles of Ram’s name on her mirrors – in a Bhansali movie, there’s never just a mirror; it’s always mirrors – remind us of the torch Paro carried for Devdas in the form of an always-lit lamp.) During the Holi meet-cute, Ram comes with a water pistol, but Leela has a real gun in her hands.After they fall in love, he asks her what she’ll do if he leaves her.We’ve seen these rich colours before in Hum Dil De Chuke Sanam (which was also set in Gujarat), and we’ve heard these bhavai-styled intonations there.The difference is that this is a world filled with guns – they are amusingly displayed in stores, like plastic toys or handbags – and this reminds us of the films of Vishal Bhardwaj and Anurag Kashyap. The film begins with an entirely unnecessary title card that says it is inspired by Romeo and Juliet, and while there are nods to the play – the invocation of the “rose by any other name” speech; the meet-cute at the girl’s home (during Holi festivities, as in Issaq, that other recent Romeo and Juliet adaptation); a near-rape that harks back to West Side Story (which, similarly, made a dance drama out of Romeo and Juliet) – the happenings are commonplace enough that they could have come from any Bollywood movie of the past fifty years.

The film goes on and on, with padded-out (and slo-mo infused) scenes like the one where a woman from Ram’s clan is chased by men from Leela’s, and at some point I began to wish for a rerun of Ishaqzaade, which did a far better job of traversing these terrains. ” When I sat down to write this post about intercaste marriages and relationships I was really not sure what to write.It’s like trying to pen down the pros and cons of being racist against blacks.He changes too – from a bona fide Bhansali lover who slits his wrist to a steely leader (or, like Lord Ram, a “king”) who’s apparently forgotten he has a personal life.The latter portions are devoted to political drama – and this is a mistake.As good as Ranveer is at playing this character as a physical presence, he’s even better at playing this character as per the purplish requirements of a Bhansali movie.He’s terrific while executing the hyper-expressive choreography in the , and in the emotional scenes, his face seems to be pulling apart in some five different directions, as if he were constantly holding back something on the verge of spilling out.(And we’ve come to see Romeo and Juliet, not the Ramayana.) Maybe Bhansali wanted to show, for a change, how love can affect not just the man and woman at the centre but also those in the community around them – but neither aspect registers, and the Bhansali fans among us have to make do with scraps, like the bit where Ram goes to Leela’s home and acknowledges the loss of her blood with a sacrifice of his own, or the one where Leela, in front of her terrifying mother (Supriya Pathak), asks a hapless astrologer how many marriages are in store for her.What happens immediately after is shocking, and of course there’s rain outside. These are the moments where we get hints of the masochism that drives Bhansali’s best work.She pauses, turns to him and says she’ll blow his brains out.How does she go from here to the woman who, after being burned, touches Ram’s feet? (Other references to the epic come from Ram’s admission of vanvaas, the heroine’s “kidnapping,” and the Raavan-effigy burning during Dussehra.) But then, why does she raise her voice and rebuke him, subsequently, for what he did to her?

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