Harshvardhan Kapoor’s debut Mirzya has been described as having a wobbly start on Friday morning.
Audience at a multiplex which was supposedly visited by reporters had barely seemed impressed by this tragic love tale. “Neither the story nor the performances of the actors cut any ice with viewers. Making matters worse was the scantily populated cinema hall with close to just 20 to 25 people present,” a report said.
Said a viewer, “The movie was slow and there was nothing enticing to hold our interest. It kept flipping in and out of the flashback mode which made no sense at all. Both the modern love story and the older flashback lacked substance.”
While story failed to appease, even less impressive were the performances of the debutant actors — Harshvadhan Kapoor and Saiyami Kher. “The acting was bad. There was nothing eye-catching about Harshvardhan or his leading lady. Performances were truly lacklustre. A veteran like Om Puri was underutilised,” said another viewer.
Another disappointment was the lack of any memorable dialogues. “Not a single dialogue had the required punch that would make us sit up and take note. The music was good but there is too much of it every 10 minutes into the movie that just made it more boring,” expressed another viewer.
With Mirzya taking pounding on Day One, it remains to be seen how well it will perform in the coming days.
The poor response is surprising considering the fact that the script and the dialogues were written by none other than Gulzar who began his career in the days of Bimal Roy.
The film was made by Rakesh Omprakash Mehra best known for writing and directing Rang De Basanti and Bhaag Milkha Bhaag. He is the writer and director of the films Aks and Delhi-6.
The Indian Express says: “Right from the get-go, Mirzya tells us it’s going to be more about setting the scene, as it cross-cuts in time — some sequences are as spectacular as anything we’ve seen recently — than giving us characters that will instantly grab us, and keep us with them. This problem plagues this lush, good-looking production right through, and makes it much less of a film than it could have been”.
The Hindu said: “It’s a pity then that despite so much happening, so much aspired for in the film, in the end you don’t feel as though you have come back with something substantial. As in each of his films Mehra is not content with the usual, is highly ambitious with his craft but doesn’t quite hit the target here”.
A non-Indian film critic in New York Times says: Still, a brutally beautiful and tragic ending, and fine performances from the three lead actors, are enough reason to watch. Sampooran Singh Kalra’s script, Rakeysh Omprakash Mehra’s direction and Pawel Dyllus’s cinematography are unabashedly romantic, featuring long, lush shots of horseback riding, scenic vistas and desert sands. Sure, the filmmakers overdo their work. But it’s all in the service of love, and somehow that makes it O.K”. – CINEWS