Absolutely see-grade

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Eye-lock kiya jaaye. A girl, desperately hoping that her father will overlook her trespasses, implores, “I know in your heart you love me deeply. Nothing else matters.”

As it happens it does. The father raises a gun, she is forced to flee but not without looking back. Maybe he’ll change his mind, her eyes continue to beg for his forgiveness.

That’s one of the most emotionally lacerating moments in Ishaqzaade, co-written with producer Aditya Chopra and directed by Habib Faisal. His Do Dooni Chaar, a valentine to the aspirations of a Delhi middle class family, was extremely different from this Romeo and Juliet-like love story set in Almore, a northern smalltown where guns-’n’-bullets can be bought more easily than potato crisps. In fact, another effective scene depicts the brisk sale of a revolver to the girl who has told her friend that she’s just picking up a pair of new ear-rings — scripted, directed and acted with tongue-in-chic humour. Terrific!

The theme of warring clans — one Hindu, the other Muslim — in a somewhat realistic milieu is a decidedly different route taken by Yash Raj Productions, the premier candy floss factory of Indian cinema. Romance in the time of political rivalry have been associated essentially with Tigmanshu Dhulia (Haasil), Anurag Kashyap (Gulaal) Vishal Bharadwaj (Omkara) and Prakash Jha (Rajneeti). In fact, those deadly roulette games played on the eve of local elections have become wearisome cliches. Not surprisingly, then, the opening sections of this 15-reeler prompt your heart to sink. Oh oh, is this Yash-iana another opportunity for you to grab 40 winks. Another eye-snore.

Be patient, then, with the mandatory hoopla to underscore the feud between the Chauhans and the Qureshis. Like Shakespeare’s Capulets and the Montagues, they are at a thousand daggers drawn. Even as kids, Parma Chauhan (Arjun Kapoor) and Zoya Qureshi (Parineeti Chopra) had exchanged stones and abuses. As adults they continue the hate vibes on the campus, including a menacing session in the ladies’ toilet. A bit reminiscent of the Aamir Khan-Madhuri Dixit bicker bouts in Dil. Never you mind, chill.

The thoo-thoo-main-main conflict finally does an Oooh-turn. Ultra-feisty Qureshi is physically attracted to the Loutish Chauhan. She goes coy, the boy is ajoy.Turns out to be a vicious machismo trick. A secret marriage later, they go through a suhaag raat in an abandoned railway train coach. Kiss kiss, Hashmi-style. And then Lout walks out on her, revealing their pix (rather veggie ones) on the cellphones of every townperson. Ugh. Are they out to glorify a rank criminal, at the expense of crushing the livewire spirit of the girl? Typically chaunivinistic. Your heart sinks titanically again. Disdain.

Mercifully, the second-half is imaginatively constructed. Despite some dead-spots which slacken the pace, you’re absorbed by the narrative which from this point focuses on the topical subject of honour killings. Suffice it to say that Habib Faisal returns her distinctly independent identity to La Qureshi, while making the Lout turn over several new leaves. Ergo, you root whole-heartedly for the young couple, as they strive to make peace, not war. An interlude in a brothel where the runaway couple find a temporary sanctuary is engrossing and even touching, as the couple attempt to match their disparate temperaments.

In addition, a sequence set in a college laboratory displays sheer chemistry between the lead pair. Above all, the director’s triumph is in giving sinew to Zoya’s characterisastion. She’s a tough but sweet cookie. Plus, the lout’s mother is another credible characterisation, repressed but speaking her mind out when inequities go beyond endurance limits.

On the techfront, Hemant Chaturvedi’s painterly cinematography elevates this project beyond the otherwise overlit products of Yashraj. Amit Trivedi’s music is remarkable for the catchy track Pareshan, while Ranjit Barot’s background enhances the volatile mood of the dramaturgy throughout. Shyam Kaushal’s action stunts are rough, raw and ready.

Of the cast, Gauhar Khan as one of those quintessential nachnewallis with a heart of gold, is impressive. Quite clearly, Parineeti Chopra is outstanding. Although she tends to be high-pitched and the dialogue needlessly refers to her as a ‘top ki beauty’ and ‘bahut khubsurat’, she’s consistently sassy and spunky. First-timer Arjun Kapoor is in complete harmony with the role assigned to him – a boorish wastrel who wises up. He’s a welcome addition to Bollywood’s club class. Yup, a star is born.

Final take: Ishaqzaade kicks off weakly and has its share of the deja pooh. Gradually, though, it gets under your skin… and rocks. Absolutely See-grade.