The Last Lear Hindi Movie

Bachchan plays to the gallery with rare power and delight, and it is a relief that he doesnt scream and beseech us to come into the light. Sep 12, 2008 By Jahan Bakshi

To B, or not to B- that is the question. For just about everything that is good or bad (depending on your viewpoint, and your aptitude and appetite for Shakespeare) about Rituparno Ghosh's first English language feature The Last Lear- inspired by Utpal Dutt's play Aajker Shahjahan- is effectively encapsulated in its wildly eccentric lead character Harish a.k.a Harry Mishra, played with matchless majesty by Amitabh Bachchan.

It's grand and whimsically theatrical, but also often very inaccessible and vague. It is overwhelming in personality but feels confusing in terms of character. And it leaves you as compelled and intrigued as it leaves you baffled and mystified.

So while all the soliloquy spouting leaves me a tad doubting- whether or not it has any meaningful relevance to the plot; at the very outset, I must confess- my thorough lack of Shakespearean prowess. And hence, rather than be a dumb mouth and pour portentousness and pretense from my ruby lips, I honestly and humbly ask for forgiveness from Mishraji, Shakespeareji and Ghoshji who shall perhaps scoff at me for my ignorance, for them have I offended.

However, even whilst coming to more familiar cinematic ground, the film's not without its foibles. The film is unnecessarily plodding on the pretext of being art, and how one wishes the storytelling were a tad more sharp and tart. The dialogue is often more stiff than Sunny Deol's dancing, and though it might be amusing to hear Ms. Zinta and Ms. Shah bickering, it often seems that the film's focus, like Mr. Mishra's vision, is flickering. Add nurse Ms. Dutta and it seems like the paralyzed lead character is going to get no patta.

Still, overt ambiguity, and unsatisfactorily explained plot points aside, there still is enough to savor in this film that is audacious enough to have its lead character scoff at its own medium. There are moments of fine humor aplenty, and then there are some that stun with their intensity and sheer cathartic strength. All of this is captured exceptionally by Abhik Mukhopadhyay, though the excessively nicotine stained lens often irritate you eye.

And the performances make sure that this Lear Express never runs out of steam. Shefali Shah gives a strong performance and Preity Zinta is a revelation, showing surprising maturity; Divya Dutta on the other hand just ends up silly, and that's a real pity. If there's a weak link here at all, it's the rather limited Mr. Rampal- Anne Robinson would agree. Till he's playing Mr. Goody Two Shoes, he's nice- but when it comes to portraying complex shades, he's like a Tandoori murga without spice.

But the despite some meandering subplots that cause you to groan, it's still the Big B who occupies the throne. It may not be his greatest act ever, but his potent renditions do make you shiver- and this remark I confirm, is meant purely as a compliment. One may complain that one never really manages to totally understand Harry Saab- but he is meant to be an enigma and a legend- and it is then, perhaps apt that he is not an open kitaab.

Bachchan plays to the gallery with rare power and delight, and it is a relief that he doesn't scream and beseech us to 'come into the light.' So while reading sad attempts at cornball poetry might not be your thing, Lear or not- Bachchan in The Last Lear is clearly the King.