Movie Review – Delhi 6
This is where the young Turks take it from suitors. Bole to.. Subash Ghai, Yash Chopra and the likes of them. Let the young rise up now. And, ladies and gentlemen, I am pleased to inform you that my fantasies are finally coming true. The new order IS taking over. Original ideas are being shaped with skill and imagination. After more than half a lifetime of being fed escapist crap by so-called dream merchants and showmen, I’m finally enjoying some good cinema unleashed by a string of young filmmakers. Delhi 6 is a worthy successor to Rang De Basanti and Rakeysh Om Parkash Mehra emphatically proves that he is not a one-trick pony.
Abhishek Bachchan is the American-born desi who volunteers to escort his grandmother, Waheeda Rehman (I love her so much) back to her roots from New York to the lanes of Chandni Chowk, which is Delhi 6 for the uninformed and those lost in the cyber world who have forgotten the postal addresses used in the romantic days of letter writing. This in itself was enough to make me nostalgic for the days of waiting and waiting for letters from my Chammak Challo. On his first trip to India, the grandson discovers the multi-hued world that is Indian society. There are so many characters in the film and each one so distinctive. However, the fusion of his role in the story is so easy that it is a tribute not only to his acting skills but also to the script and of course the genius of the direction.
Abhishek’s intended journey as an escort quickly turns into a discovery of that mystical fabric that unites people of different religions and social standards, an understanding of weaknesses and prejudices that breaks the facade of harmony only to return to normal again. It is this crazy mix of love, hate, rigidity and tolerance that makes Indians what they are and Mehra has managed to condense that macro image into a single neighborhood of Chandni Chowk. There are too many good characterizations to find individual appreciation here, but I have to single out Deepak Dobriyal for his brilliant portrayal of the Muslim Jalebiwallah who becomes the target of the wrath of religious fanatics, and of course Vijay Raaz as the classic police of Delhi. The dialogue delivery from him with a Haryanvi accent is a delight to watch. Cyrus Sahukar as the photographer who cuckolds Prem Chopra, the wealthy pawnbroker, makes a charming cameo.
Abhishek, like the bewildered Westerner, has suitably downplayed his character. Sonam Kapoor is naturally vivacious and can only get better. Rishi Kapoor looks more and more like his great father. Atul Kulkarni has put on some weight, but he’s still good as the goofy fool of all jokes.
There are numerous scenes that have been beautifully composed, but the surprising one was Ram Leela. It took me back forty years when, as a young man, I saw old Delhi Ram Leela for the first and only time. The images are still fresh in my mind and lo and behold, I was reliving the experience all over again. Raghbir Yadav has lent his voice to the musical interpretation of the timeless epic. All the classic touches of theatrical art are there to see especially the scene of the flying Vanars and of Ravan meeting the Lakshman Rekha. Mehra also mocks selfish politicians with her mandir-masjid politics and the plethora of news channels that find merit in repeating the most ridiculous news ad nauseam. Photography reveals the love for the old city. Panoramic shots of Jama Masjid, the Red Fort and the Old Delhi skyline are simply stunning.
AR Rehman’s compositions are great. Mohit Chauhan’s beautifully sung “Masakali” brings to life the spontaneity of Sonam’s character. Kailash Kher and Javed Ali have put their hearts into soul by stirring up “Arzian”. A spiritual song in every movie is becoming almost the norm with Rehman, which is not a bad thing. But my favorite is the title song by Blaaze, Benny Dayal, Vivinenne, Tanvi & Claire. After all, “Yeh Dilli hai mere yaar”. Go, look and feel alive.