Kisna – A MIXED BAG, FAILS TO MEET GREAT EXPECTATIONS

Rating:- * *

Set in the pre-independence era, KISNA is not a page from history, but a work of fiction which bears a striking resemblance to Michael Mann’s widely acclaimed masterpiece THE LAST OF THE MOHICANS [1992) a love story threatened by overwhelming circumstances. Ghai also seems to have taken some inspiration from TITANIC.

But, alas, the film works only partly. It takes a brilliant start, but runs out of steam as incidents unfold. And by the time it reaches the finale, the viewer feels let down.

The turbulent 1940s form the backdrop of this love story when the nationalists had locked horns with the British to get independence for India.

A young Indian, Kisna [Vivek Oberoi], defies his family and brethren and shields a British girl Catherine [Antonia Bernath] who happens to be the daughter of a ruthless British Deputy Commissioner [Michael Maloney] from an enraged mob. He decides to escort the young girl to the British High Commission in New Delhi, but before that he has to face opposition from his uncle [Amrish Puri], elder brother Shankar [Yashpal Sharma] and a scheming, lusty and power-hungry prince, Raghuraj [Rajat Kapoor].

During this journey, love blossoms between Kisna and Catherine, complicating Kisna’s life, for,his relations with the girl he is engaged to, Laxmi [Isha Sharvani], are strained in the process...

Ghai successfully recreates the pre-independence era and introduces his characters skillfully.

The proceedings get interesting when the Indians attack the Commissioner’s house and Kisna takes it upon himself to save Catherine from their clutches.

But the moment Kisna and Catherine embark on an unexpected journey, the graph of the film starts going downhill.

However, the pace picks up half-way, and you expect the post-interval portions to ignite the screen. But nothing of the sort happens. Frankly, what you witness in the second half has been witnessed umpteen times earlier.

The post-interval portions suffer largely because the screenplay now becomes very predictable and run-of-the-mill. There’s a mujra, a dream song [an English track] and then again the chase ensues, with the hero defeating all his opponents one by one. And then a prince surfaces on the scene suddenly. By the time the film reaches its climax, the lethargic pace at which the story unfolds, coupled with the been-there-done-that kind of situations, dilute the impact considerably.

Subhash Ghai’s choice of the subject was not bad, but where the film falters is in its undernourished and uninspiring screenplay. The proceedings, more so towards the second half, are so lackluster and jaded that despite Ghai’s mature handling of some scenes, the outcome is not up to the mark. Writers Sachin Bhaumick, Farukh Dhondy and Margaret Glover along with Ghai himself have just not been able to deliver a taut script!

Ashok Mehta’s cinematography is of international standard. Absolutely flawless. The locales of North India are simply breath-taking. The chases and the sword fights [Tinu Verma] are excellent.

The musical score [A.R. Rahman, Ismail Darbar] is rich and melodious, but when viewed with the story, only two songs make an impact – the title track deserves a special mention. ‘Hum Hain Is Pal Yahan’ has a haunting tune.

Vivek Oberoi just passes muster and lacks the fire to carry the role with gusto. His dialogue delivery and expressions, at places, leave a lot to be desired. It is the British actress Antonia Bernath who steals the show and handles a difficult role with amazing grace, displaying the various emotions with élan.

Isha Sharvani suffers due to a sketchy characterization. Yet, it must be said that she comes across as a fine performer. Also, she’s an accomplished dancer; her dances are awe-inspiring.

Polly Adams, as the aged Catherine, is first-rate. Caroline Langrishe, as Catherine’s mother, is effective. Michael Maloney doesn’t get ample scope.

Amrish Puri is wasted in an insignificant role. Ditto for Om Puri. Yashpal Sharma makes his presence felt. Rajat Kapoor is equally good. Sushmita Sen is alright in the mujra and the two scenes. Hrishita Bhatt doesn’t impress. Zarina Wahab, Vikram Gokhale and Vivek Mushran fill the bill.

On the whole, KISNA does not meet the colossal expectations generally aroused by a Subhash Ghai film.