Veer-Zaara (2004), streaming with subtitles on Netflix, is one of the modern classics to come out of Bollywood in the 2000s. Graced with three big stars, driven by an entertaining, if predictable, plot, and laced through with beautiful music and some interesting messages, the film was a hit with domestic and overseas audiences alike.
The film opens with a dream sequence, which quickly breaks to an aged and frail Veer (SRK) in one of the largest cells ever to misrepresent a prison system. We discover Veer is an Indian political prisoner in Pakistan, and has not spoken since his arrest. A young and idealistic lawyer, Saamiya Siddiqui (Rani Mukerji), appears on the scene with one goal: to secure the Indian prisoner’s freedom. No one that handsome could be a spy (James Bond notwithstanding); Veer is naturally innocent of all wrongdoing. But to prove it, Saamiya is going to need to hear the whole story. Eventually convinced of his lawyer's sincerity, Veer recounts his tale of love and loss while gently cradling a silver anklet of bells.
In the flashback of Veer's memory, which comprises most of the film, we are introduced to our heroine, headstrong Pakistani girl Zaara, played by the ever-delightful Priti Zinta. After the death of her beloved teacher, Zaara travels to India to pour her ashes into the Sutlej river in the Punjab. There, Zaara is rescued by Veer, a handsome Indian air force pilot, who agrees to accompany Zaara to the Sutlej, and then show her his home. As all great couples should, the two fall head-over-heels in love over the course of two days to a beautiful score composed by Madan Mohan.
The film opens with a dream sequence, which quickly breaks to an aged and frail Veer (SRK) in one of the largest cells ever to misrepresent a prison system. We discover Veer is an Indian political prisoner in Pakistan, and has not spoken since his arrest. A young and idealistic lawyer, Saamiya Siddiqui (Rani Mukerji), appears on the scene with one goal: to secure the Indian prisoner’s freedom. No one that handsome could be a spy (James Bond notwithstanding); Veer is naturally innocent of all wrongdoing. But to prove it, Saamiya is going to need to hear the whole story. Eventually convinced of his lawyer's sincerity, Veer recounts his tale of love and loss while gently cradling a silver anklet of bells.
In the flashback of Veer's memory, which comprises most of the film, we are introduced to our heroine, headstrong Pakistani girl Zaara, played by the ever-delightful Priti Zinta. After the death of her beloved teacher, Zaara travels to India to pour her ashes into the Sutlej river in the Punjab. There, Zaara is rescued by Veer, a handsome Indian air force pilot, who agrees to accompany Zaara to the Sutlej, and then show her his home. As all great couples should, the two fall head-over-heels in love over the course of two days to a beautiful score composed by Madan Mohan.
Not all is to run smoothly- Veer is obviously in jail. As with all great melodramas, this film has a dastardly villain, some cruel twists of fate, and a phenomenal courtroom scene. I won't share the ending- suffice to say, it is very melodramatic. At its best, this film is moving melodrama. At its worst, this film is ridiculous melodrama. However, one must respect that this film is completely unafraid to be exactly what it is.
With the self-assuredness comes some heavy-handedness. Women deserve equal opportunities to pursue educations and futures! Cross-border, religiously mixed love is beautiful! True love conquers all! In case of confusion, these points are driven home with the subtly of a semi-truck. Fortunately, that doesn’t make the messages wrong, and the film,
while heavy-handed, makes a nice change from some of the other messages about love, diversity, and gender relations coming out of Hollywood, Bollywood, and most everywhere else.
Another song worth noting is “Main Yahaa Hun” (I am here), Zaara’s fantasy, displaying the chemistry between Zinta and Khan and Zaara’s unapologetic interest.
Very often in films I cant help but wonder if the heroine is dancing along just to be nice. Make no mistake here- Zaara is in it to win it. Veer even appears
in the rain following the ever-popular trope which highlights the object of desire’s figure and form. The male form as desired, and the heroine doing the
unabashed longing, is unusual. SRK commented that he has done enough romantic films to sleepwalk through roles. Looked fine to me.
The music is some of the best you will ever hear. I enjoy all the songs- one I include here in which Veer describes India to Zaara, who rejoins that her homeland shares the same dawn and sunset with India. It is joyful, patriotic, and romantic- a trifecta of greatness. Please also appreciate the over the course of his career, SRK has danced on everything imaginable, including the Ferris wheel here (see also trains, motorcycles, and the Brooklyn Bridge).
The costuming on this film is lovely, showcasing old-fashioned elegance for a more contemporary moment. While trends in shalvar suits and sari come and go, beautiful lines, bejeweled dupata and solid colors will never cease to appeal to those with an eye for the timeless.
Critical to enjoying Veer-Zaara is checking cynicism at the door. If by the end of this film you aren’t in tears and convinced Veer and Zaara will be together forever, you are watching it wrong. Gray areas, ambiguity- reality in general- have no place here. Leave it at home or don’t bother watching. And don’t bother calling- I will be busy happily crying and singing along.
Director: Yash Chopra
Writer: Aditya Chopra
Runtime: 192 minutes
Languages: Hindi, Urdu, Punjabi
Country: India
Country: India
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