Director: Meghna Gulzar
The best thing are the names—Tabu and Sushmita as Rewa and Siya, two friends ready to do anything for each other. They fail, however, in keeping the interest alive in this much-awaited movie. But any pretensions that Meghna Gulzar carries forward the Gulzar tradition are dispelled in the first half hour of the movie itself. To begin with, there is little by way of screenplay. Meghna, it seems, had an idea which she forgot to evolve into a script. So she does the next best thing—play around with moments and emotions in the hope that the audience will connect somewhere with a super-clean, super-sanitised version of Doosri Dulhan. But her personalised interpretation of the 'woman carrying someone else's baby' story rings a false bell. The upper-class setting is devoid of any reality touch—houses are full of blues and yellows while human beings wear white and matching colour shades. They are too perfect to be true. Their emotions touch a high which borders on the absurd—Sushmita, the one doing the sacrifice, switches from an independent person, who doesn't want a child, to an emotionally-charged potential mother in an instant. Tabu, the mourning mother who cannot conceive, first appears indebted to her friend. Then, suddenly, she contracts the jealousy/insecurity syndrome and leaves her house. The men are either pansies or too engrossed in the womanly play to emerge as independent characters. But the worse part concerns the director's total surrender to a dead pace. The second half labours endlessly on trite sentimental problems—there is not even an attempt to try out a new twist.
Tabu has gone through these emotions before. It is Sushmita who tries treading on new ground—her forte however remains the three or four expressions she is capable of. Anu Malik's music takes an uncalled for 'arty' tangent.