Shabd (Leena Yadav, 2005)
Shabd (or “Word” if my toddler-level Hindi serves me correctly) is the kind of film you’re either going to fall in fascinated love with, or turn off half-way through in bored, frustrated disgust. (To the people out there that hate this film – I’m not judging, because I can TOTALLY see why someone would). By no means is this your run-of-the-mill, mainstream Bollywood fare, regardless of the cheesy tagline on the cover proclaiming “The world’s biggest love story” and the irritating, charisma-free presence of Zayed Khan.
If you’re going to watch Shabd, what you need to know is that it has more in common with art films or experimental cinema than, say, a riotous Manmohan Desai masala flick aimed at entertaining the masses.
So anyway, I fell in fascinated love with it. And NOT JUST because it stars Sanjay Dutt as a smoking hot intellectual.
The film opens with an author, Shaukat Vashist, being awarded the Booker Prize for his first novel, and being showered with critical and public acclaim. Unfortunately for Shaukat, when he publishes his second book, it is universally panned, with the main criticism being that his story isn’t ‘real’ enough.
Poor Shaukat is crushed and doesn’t write a thing for two years, until an offhand comment from his beautiful wife Antara (Aishwarya Rai) inspires him to try writing again.
Does Shaukat, facing the worst writer’s block of his life and with critics damning his work as ‘unreal’, draw his inspiration for his new novel from the events of his real life, manipulating his wife into a one-sided affair with photography teacher Yash (Zayed Khan) to give him more fodder for his fiction?
Or does Shaukat possess a more mystical power, and have the god-like ability to manifest events in his real life by first writing them in his novel?
At its core, is this really just a film about a marriage in trouble? Why does Shaukat – who clearly loves his wife, and she clearly loves him – push Antara towards another man? To test her love for him? Because he thinks the friendship will bring her happiness and he trusts their marriage is strong enough to survive any flirtation? Or is there a more sinister reason, rooted in his need to create ‘real’ fiction to silence the critics, and his apparent inability to live outside of his head?
So is it about the creative process, and the artist’s struggle in the world to walk a fine line between satisfying a creative impulse and satiating the varying needs and wants of the audience and critics? Is the critical mistake at the heart of Shaukat’s tale that he doesn’t remain true to his own inner voice, but panders to what he thinks his audience wants: a ‘real’ story, hence making it all the more unreal?
So many questions: no concrete answers. Only hints: throwaway lines, clever angles, and symbols.
Words. Everywhere, words.
Puppets.
A conductor’s baton.
Wow! Sounds fascinating, just the kind of film I love to sink my teeth into! Plus, love Sanjay Dutt. Your side commentary about Zayed Khan is hilarious. Someone needs to do a post on nepotism gone wrong (Uday and Zayed, we're looking at you!)
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And dare I say…Fardheen Khan? Oooh totally watch this if you love Sanju Baba – it goes a bit cracked at the end, but his performance is REALLY good, and a nice change from his usual gangster-type roles.
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Shabd is one of my absolute favourite films. Wish Sanju would do more roles like this. Thanks for your review, Ness. 🙂
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Just found your review on IMDB, as I was submitting my own freshly posted review. I'm totally surprised to see that you loved the movie, I kind of had the feeling you'd be one of the haters. But then again, I thought I'd love it and in the end my opinion is mixed.I liked the questions you raised about the film, I think they showed a lot of the aspects of this wonderfully original and complex story. Sadly, some things almost ruined it for me – but I will always remember it for its great idea. And the soundtrack of course.
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