Dor (by Nagesh Kukunoor)

[NishaTG]

Nagesh Kukunoor's 'Dor' releases this September

After his award winning flick 'IQBAL' director Nagesh Kukunoor is back with yet another tour de force 'DOR' starring Ayesha Takia, Gul Panag, Shreyas Talpade, Girish Karnad and Pratiksha Lonkar . The film, produced by Sahara One Motion Pictures, brings forward a masterpiece after the box office hit 'Corporate'. The film is scheduled for release this September.

'Dor' canvases the journey of two women from different worlds and how these two sets of lives come together through a tryst of destiny. 'Dor' makes you ask yourself how far you will go to save the one you love. It's a story about love, loss, friendship, hope and ultimately, redemption.

The film is produced by Sahara One Motion Pictures with Executive Producer Percept Picture Company in association with Sic Productions (Executive Producer-Elahe Hiptoola.)

"We all look forward to Nagesh Kukunoor's films mainly because the subject and content is so out of the ordinary and captivating. One may not have anything to do with it but we all still immediately connect to it. And after 'Iqbal', we wanted to work with this talented director", said Shantonu Aditya, Chief Executive Officer - Sahara One Media and Entertainment Ltd.

Nagesh also believes, "DOR is my most challenging and dramatic film to date - the pristine locales, the spectacular cinematography and the soaring music all add up to make it a larger than life film. However, at its core, as in all of my films is the human element, the simplicity of the basic emotions that bind us all."

'Nagesh Kukunoor's perception on cinema is quite unique and it is a matter of immense pride for Sahara One Motion Pictures to be a part of this venture'. Says Sharang Sharma , Business Head Sahara One Motion Pictures.

Written and Directed by Nagesh Kukunoor, the film's music is by Salim Suleiman with sound from Vipin Bhati. Sudeep Chatterjee once again shows his skills by being the Director of Photography and the art direction is taken care of by Muneesh Sappel. The production designer is Devika Bahudanam, Costumes have been designed by Komal Sahani & M.P. Karthik and the film is edited by Sanjib Datta.

Nagesh brings yet another starkly different and interesting plot to cinema houses this year, and is sure to be as well appreciated by critics as well as audiences all over India. Watch out for this magnum opus coming this September at a theatre near you.

[NishaTG]

I was wondering if any one had any information on this movie. I had never heard of it until I saw the ad on tv. For some reason, (having just watched Water), the ad reminded me a lot of Water. I started to wonder whether this movie was based on a similar theme as Water, and googled for some information on the story, but the above was all I could find.

[Naila]

I was also wondering about this movie when I came across its album release on OkeSite.com just today, and found this through Google after some searching:

Synopsis of Kukoonoor’s ‘DOR’
Faridoon Shahryar, IndiaGlitz [Tuesday, August 22, 2006] 
 
‘Dor’ is a story about love, loss, friendship, hope and ultimately, redemption. Dor has two principle characters that are from different walks of life but get bound together following certain occurrences. It’s a story about Zeenat (Gul Panag), an independent, self-assured, married young woman, living in a remote Himachal Pradesh village and about Meera (Ayesha Takia) who abodes in rural Rajashtan and hails from a conventional Rajput household.

A life changing piece of news which happens to be of common interest, reaches both these strangers and compels their life to no longer remain the same. A search begins so that life could be habitual and happy again, a bahuroopiya (An imposter), played by Shyreas Talpade enters the scenario and perhaps helps unravel the mysteries, leading into a powerful and unexpected ending. The story questions us on how far one can go to save her/his love, fighting all odds, perhaps even destiny.

http://www.indiaglitz.com/channels/hindi/article/24665.html

================================================

I love how Ayesha Takia appears very natural and cultural vs. the image I'm used to seeing her in (DMM, SN1, SSP, etc.).







More pictures here

[crazyone]

Here's more detail...

http://www.hindu.com/mp/2006/09/02/stories/2006090206030200.htm

  A slice of real life

Nagesh Kukunoor lifts the veil off `Dor', his most dramatic movie till date

I wanted a theme song that's uplifting, not romantic or `dinchak' Nagesh



COLOURS OF RAJASTHAN Ayesha Takia in `Dor'

The canvas is large, the settings spectacular and the narrative his most striking ever. "I decided on the story's premise and started writing the screenplay, and realised that Dor will be an extremely dramatic film," says film-maker Nagesh Kukunoor. If he is excited about his new venture, he doesn't pretend to hide it. The film, which will release on September 22, has begun to intrigue cine-goers and the film industry alike. Salim-Sulaiman's soulful music and Sudip Chatterjee's breathtaking visuals on the promos are doing the trick.

After the much-acclaimed Iqbal, Nagesh has taken a piece of reality for Dor. In Nagesh's own words, "It's a story of two women coming from two different worlds and the journey taken up by one to meet another." The story shows to what extent a young woman goes to save her loved one, even if it means fighting against destiny. Prod him on and Nagesh reveals that the story was inspired by a real-life incident: "It's a story where one Indian migrant worker in Saudi Arabia kills another by accident. Under the shariyat law followed in Saudi Arabia, only the widow of the deceased can forgive the accused. So Gul Panag takes up a journey to meet the widow of the deceased, Ayesha Takia."

The film has been extensively shot in Rajasthan and Himachal Pradesh. The three principal actors, explains Nagesh, came together in three different ways. "A friend of mine told me that Ayesha was signed for Naseeruddin Shah's film. I also saw Socha Na Tha and thought she'd fit the bill for Mira. And man, was I right? She is absolutely fantastic. Gul was selected after an audition. For Shreyas's role, I had an older person in mind. But since I knew Shreyas both as an actor and a friend, I felt that he could contribute a lot. You'll see newer facets of his acting."

Nagesh's favourite composer duo Salim-Sulaiman do the honours this time too. Is it the comfort level, their understanding of his what he wants or their knowledge of Indian and Western music that made Nagesh return to them? "All of the above," laughs Nagesh. "So far, they've given me primarily western background music that's more orchestral in nature. For Dor, they've beautifully blended Indian and western music. Salim has worked with the likes of Zakir Husain and that understanding of music helped." If Aashaiyein of Iqbal stood for optimism, Dor has a theme song that's uplifting. "I wanted the song to say `never give up' but I didn't want it to be romantic or `dinchak'. Salim-Sulaiman did a great job."

As the release date approaches, Nagesh spends lesser and lesser time in Hyderabad. "I'm here only once in a fortnight to meet my parents. Work keeps me away," he concludes.

SANGEETHA DEVI. K

[Savera]

What a nice review! I just saw this director's film 'Iqbal' (same leading man as 'Dor') & highly recommend it.

Dor is a must-watch  *spoiler alert*

Merril Diniz | September 22, 2006 14:44 IST

Nagesh Kukunoor's Dor is a complex tale of how two very diverse worlds collide.

Yet it is told in an uncomplicated, sensible manner, minus melodrama, cliches and a glamour overkill. It's also amusing enough to keep you in splits throughout.

Ayesha Takia plays Meera -- an innocent, affectionate, spirited but abiding young woman who lives with her husband in a traditional joint family set-up in Jodhpur. She and her husband are very much in love and share an intimacy demonstrated very endearingly in the film. In one of the opening scenes, Meera dances with gay abandon to the song You are my soniya, trying to ape the moves of Bollywood heroines, while hubby Shankar looks on, blissfully entertained. Shankar lands a job in Saudi Arabia, and the lovers part amidst a restrained show of sadness. He sends home money for the family and Meera rents a cell phone for a pretty packet once a month, so she can indulge in a few snatches of conversation with Shankar.

Takia's character is the antithesis of Zeenat (Gul Panag), an independent, self-assured, practical but slightly cold woman from Himachal Pradesh. The story doesn't reveal much about her background or her family. It's most likely that she's an orphan who has seen hard times, and emerges stronger from the experience.

She is in love with Amir, who marries her despite opposition from his parents. The two tie the knot in a simple ceremony without any invitees. The next day Amir must leave for Saudi Arabia as he gets a job there. His parents come to bid him farewell. He tries to win their approval for his new bride. However, it is only after he departs that they finally embrace Zeenat. In turn, she cultivates an intimate bond with her in-laws giving them all the money Amir sends home every month; she has enough to sustain herself from her job as a teacher.

Shankar and Amir cross paths in Saudi Arabia, where they live as roommates. Then tragedy strikes. Shankar falls off the balcony and dies. Amir is convicted for murder and thrown into a Saudi prison. But that won't be for long. Soon he will be tried in court and if found guilty, he will get the death sentence. The ministry of external affairs intervenes and explains to Zeenat that the only way Amir might be set free is if Shankar's widow condones Amir. So, Zeenat sets off on a quest to find Meera, treasuring a single document that could set her husband free.

Many miles away in Jodhpur, Meera is now condemned to a peripheral existence. Her bangles are shattered and the kumkum is whisked off. She is disrobed off her vibrant ghoonghat and made to wear deep blue widow's garb. She is banished into a cold, dark room with a lone beam of light, where she silently moans the death of her husband and suffers the loss of freedom, alone.

When Zeenat reaches Rajasthan she encounters Behroopia (Shreyas Talpade), a jester-like conman who first entertains people and then steals their belongings. His brand of entertainment involves impersonating a variety of iconic Bollywood characters. He also has the talent for slipping effortlessly into the guise of real-life characters like your local taxman or police inspector. Zeenat encounters Behroopiya at a local dhabha in Rajasthan, whilst she is pondering her plan of action. He forecasts her future and delivers a rendition of Sholay's Veeru in exchange for a plate of food. Though she does not buy his shenanigans, she shares her food with him. In return he flees with her money and belongings.

However their paths cross again and he helps her track down Meera. This twist of fate spices up the journey.

Will Zeenat find Meera? And will Meera find it in her heart to forgive Zeenat's husband?

Dor is a must-watch for all Indians; the core message transcends religion, community, strata and gender and it has a superb anti-climax. The film is entertaining and also has multiple messages that are delivered in the subtlest manner.

And there are many highlights. The film is aesthetically shot against picturesque locations in Himachal and Rajasthan and some of the scenes shot in Jodhpur simply take your breath away. The script is engaging; the dialogues entertaining, witty and yet quite profound. You also have several sub-plots that surround the main story. And every scene seems to have been well etched out.

Stripped of all the makeup and stylish get-ups, all Ayesha Takia is left with is a sweet doll-like countenance, bushy eyebrows and the ability to strut her acting prowess. And she goes for the kill with an award-winning performance. Happy and content one minute, depressed, vengeful or naive the next, she does justice to all the various shades of Meera's spirited yet repressed character.

Shreyas Talpade is a natural at comedy and his impersonations have the audience rolling off their chairs. However, his character commands more than just lots of laughs. In a drunken stupor he sheds his jester-like exterior to reveal his true feelings and this transition seems so natural.

Gul Panag looks lovely without makeup, her dimples lighting up the screen every now and then. Her portrayal of Zeenat is pretty decent, her character coming across as strong yet restrained. The supporting cast, despite having short roles, manage to hold their own.

After skipping his obligatory cameo in Iqbal, director Nagesh Kukunoor here appears as a rich factory-owner setting up shop in Jodhpur. Off-screen he has done a fantastic service by creating meaty roles that give the actors an opportunity to really perform. The character sketches are strong and the characters are inspiring but not patronising. The script, the story and the characters take the spotlight and the sets, though picturesque add to the plot instead of overshadowing it.

Another wonderful aspect is the rural setting of the story as opposed to an urbane or yuppie backdrop. There are so many stories across the length and breath of India that need to be noticed, shared and told. According to Kukunoor, he almost didn't make the film. Well, we are glad he did and look forward to many more engaging films from the Kukunoor stable.

Rediff Rating: 4/5 stars

[gabahd]

On the other hand, India FM gave it a lower review.
But Taran Ardash always rated the box office potential.
-----------

By Taran Adarsh, September 22, 2006 - 12:26 IST

A Nagesh Kukunoor film needs no introduction. Associated with qualitative cinema over the years, the one thing that binds all Kukunoor films is the emphasis on content. In DOR, his new outing, the efficient storyteller tells the story of two women, reportedly based on a real-life incident.

If IQBAL, his last effort, looked at the sport and the politics that came with it as also the story of an underdog who aspires to play cricket on the national level, Kukunoor changes tracks in DOR. Sensitively handled with bravura performances from the entire cast, this one's a triumph for everyone associated with it.

More than anything else, Kukunoor ought to be complimented for having the courage to make his kind of cinema. A number of scenes in DOR leave you spellbound and the locales of Rajasthan only give DOR a distinct flavor.

But there' a flipside to DOR as well…

DOR caters to a niche audience. It seems, Kukunoor has targeted his film for an audience that's not in the majority. Although handled with utmost sensitivity, you cannot close your eyes to the fact that the execution of the material would appeal to a tiny segment of viewers. And also the Festival circuit.

Awards and glowing critical acclaim, yes, DOR has the power to win it. But box-office rewards and a mandate from the aam junta will elude it. The lethargic pacing will also go against it.

DOR tells the story of love, loss, friendship, hope and ultimately, redemption. It is a tale of two women from two different worlds.

In ways that neither Zeenat nor Meera can perceive, their worlds are about to collide. A life-changing piece of news reaches both women at the same instance and sets into motion a series of events that will change their lives forever.

Zeenat [Gul Panag] is compelled to make the long journey from the hills of Himachal Pradesh to Rajasthan's deserts, in search of Meera [Ayesha Takia]. Along the way she encounters a Behroopiya [Shreyas Talpade], whose uncanny instincts and good humor help to make the difficult journey easier.

As different as they are, Zeenat and Meera form an uncommon bond of friendship and respect when they meet. But can it endure the uneasy truth that Zeenat hides? One of these women will hold the power of life and death in her hands. One will be helpless at the hands of fate.

DOR is an intense/serious subject that has been handled with utmost sincerity. In fact, it's difficult to single out any one sequence in particular since DOR has a consistency that's visible from start to end. Yet, it must be noted that you can't ignore the remarkable executed sequences between the two women. Kukunoor also pads the proceedings with light moments in the form of Shreyas, whose mimicry of various actors is quite enjoyable.

Kukunoor's choice of the subject is laudable and otherwise too, you cannot find technical faults vis-à-vis the way story unfolds. The culmination to the story is also justified and instead of beating around or taking its own sweet time to come to the point, the end is just right. But DOR tends to get dry and heavy at regular intervals and even the slow pacing tests the patience of the viewer.

The music is traditional and although it's in sync with the genre of the film, it has its limitations. The background score [Salim-Sulaiman] is effective in parts. The camerawork does justice to the scenic beauty of Rajasthan. The ambience [art: Muneesh Sappal] deserves special mention. His work in PINJAR, PAHELI and DOR proves that there's a lot of detailing involved.

DOR is embellished with noteworthy performances. Gul Panag dominates the first hour and Ayesha Takia the second. Gul is tremendous in a role that offers her ample scope to showcase her talent. Ayesha is only emerging into a powerhouse performer with every film. Also, she has the courage to swim against the tide by accepting a non-glamorous role, which most actors don't do at the start of their career.

Shreyas springs a pleasant surprise. To stand out in a women-dominated theme is indeed tough and the young actor manages to register a strong impact. Girish Karnad is flawless yet again. Nagesh Kukunoor is perfect.

On the whole, DOR is a well-made film that caters to those with an appetite for qualitative cinema. While the film will win glowing reviews and praise from the gentry, its appeal will be restricted to the elite at select multiplexes. Awards yes, box-office rewards no!

IndiaFM review: * 1/2

[Moby]

I'm absolutely shocked that no reviewer has cited that this film is a ripoff of Kamal's Malayalam venture "Perumazhakaalam".  I haven't seen "Dor" yet but if Kukonoor hasn't credited Kamal for the story, I will no longer consider Kukonoor as a director of repute.

[theboldandthebolly]

What is the release date for this film?

[Roj Blake]

I think it released last Friday September 22nd.

[theboldandthebolly]

Okay this is driving me crazy. The movie was released last week. Does anyone in the New Jersey, Usa area know if has already played through, or if it was not released here? I tried to check a few sites like www.nowrunning.com, but no info. Any help would be appreciated, I really was looking forward to seeing this or maybe it will be out on dvd soon

[Anamika]

Lucky New Yorkers!

I have searched the net for information about this movie, but it doesn't look as if a single copy of it has been screened anywhere out of India yet - does anyone of you know more?

DOR to be screened at IAAC Film Festival

Sahara-One Motion Pictures latest blockbuster 'DOR' directed by Nagesh Kukunoor is all set to be screened at the annual IAAC (Indo American Arts Council) Film Festival in coming November!

After screening HYDERBAD BLUES and TEEN DEEWAREIN, this is the 3rd film of Nagesh Kukunoor to be screened at this illustrious film festival. Also taking place will be a press conference, discussions and a round of talks with acclaimed writer Salman Rushdie and Padma Laxmi being the gala chairs this time.

The festival is really packed with very strong films this year and DOR has made the line-up even better which is slotted on a Saturday under the Prime Screening Slot on November 4, 06. Opening with Mira Nair's new film "The Namesake", DOR will certainly prove to be a big hit amongst the audiences.

DOR is yet another winner from the stables of Sahara One Motion Pictures, which has had hits like HANUMAN, MALAMAAL WEEKLY, and CORPORATE in its illustrious past. So DOR is yet another feather in the cap for Sahara-One Motion Pictures

Critically acclaimed and well liked by all audiences, DOR has proved to be a super-duper hit. The film stars Ayesha Takia, Gul Panag, Shreyas Talpade, Girish Karnad and Pratiksha Lonkar and canvases the journey of two women from different worlds and how these two sets of lives come together through a tryst of destiny. It makes you ask yourself how far you will one go to save the one you love. It's a story about love, loss, friendship, hope and ultimately, redemption. 

Most certainly DOR is set to create yet another benchmark representing Indian Cinema in Global Platform.

http://www.glamsham.com/movies/scoops/06/oct/31_dor_indo_american_arts_council_nagesh.asp

[Darshana]

WARNING if you don't understand a Hindi movie without subtitles - last thing I read, Dor was being shown at the IAAC festival without subtitles--check their site - and please post here if you can confirm that they're changed their info.

Whatever I read said "without subtitles" on the top - I remember reading it over and over, hoping that it would "change" and say it did have them.

[smartypants]

WOW!!!!! what a film . i was gulping hard at various points trying to hold back tears and also to smile while crying . a film by director of highly recommended ' iqbal ' , it fills your heart bittersweet mix of happiness and sadness . THIS film is india's ' water ' imo . bit too slow at times , but overall a good film , and specially if you know hindi  because i dont know if entire feeling and bittersweet joking will come out in english transation , this film is that kind . wow .

and to ' water ' supporters , note that not a single set was burned , no one protested in india for making of this film  , unlike fake ms . deepa ' i need controversy and oppressed indian women to sell in West ' mehta . this film makes indians feel and feel sad for this widow treatment customs in villages , and is not reveling in violence on women to gladden western hearts like water . anyway , i dont want to get on rant on mehta again  .

back to dor , it is sweet film in mode of nagesh kukunoor and is slow in middle , but still gives you time to absorb scenery , which btw cinematography is very nice and shows both kashmir and rajasthan very nicely . wow , it made me miss miss miss home so much . best message this film gives is it is not how many years you live but quality of life you lead , is it from your own decisions and choices that makes life so much fun to live , like ' iqbal ' , if you liked that, you will like this one also . highly recommended .

[Chanchal]

and to ' water ' supporters , note that not a single set was burned , no one protested in india for making of this film  , unlike fake ms . deepa ' i need controversy and oppressed indian women to sell in West ' mehta . this film makes indians feel and feel sad for this widow treatment customs in villages , and is not reveling in violence on women to gladden western hearts like water . anyway , i dont want to get on rant on mehta again  .

Whoa, smartypants, are you suggesting that Deepa Mehta hired goons to wreck her sets for the sake of publicity?  Interesting point of view, any evidence to support it?  I really am glad that Dor is doing well in India, I think it's a lovely movie in many ways.  But is it any better than Water simply because it is targeted at the domestic Indian audience? Will it lose validity if it gets circulated on the film festival circuit all over the world?  SPOILER SENCENCE NEXT:  Because after all, the widow played by Ayesha Takia is whored off by those entrusted with her care, her own family.  Is that not capitalizing on the misery of oppressed Indian village women?

If Nagesh Kukunoor can make a Dor without contoversy, then why the discrimination against an Indo-Canadian woman telling such stories?  You know what?  In the last two weeks, THREE Indo-Canadian women in the Vancouver (Canada) area have been murdered:

-Navreet Waraich, stabbed to death Oct 29, husband Jatinder arrested and charged with 2nd degree murder.

-Gurjeet Kaur Ghuman, shot in the head Oct 20 while riding in a car with her estranged husband Paramjeet, who then shot himself.

-Manjit Panghali, 4 months pregnant, missing since Oct 17 on her way to prenatal yoga class, was found murdered on Oct 23.  Her husband did not bother to report her missing for 24 hours.  Case under investigation.

Since these incidents, Indo-Canadian women in the area have been coming forward and speaking to the press about their own experiences with domestic violence, despite the backlash they face at home.  They just want to stop the violence, hopefully save some girls from having the same experience.  So smartypants, would you say that the Canadian media should mind its own business, and stop telling their stories?  I don't think so.  Maybe violence against women was accepted  and even expected at one time.  Now in 2006 there is no excuse cultural or otherwise, and whether it takes a Dor, a Water, or press confererences with the Vancouver media, abuse against women must be exposed and opposed.

[smartypants]

Whoa, smartypants, are you suggesting that Deepa Mehta hired goons to wreck her sets for the sake of publicity?

no

If Nagesh Kukunoor can make a Dor without contoversy, then why the discrimination against an Indo-Canadian woman telling such stories?

makes one wonder no ? if all my posts on this woman don't clarify for you , no point . your mind is made up , so i will not confuse with facts . will only say one thing : there is difference of heaven and hell in way dor and mehta handle subject . in mehta's and nair's  films which they make for west , entire film feels like ' oh these oppressed brown folks , our western culture is so advanced , we are so lucky to be western women and free etc  ' .  in dor feeling i got was ' why are we doing this in our society ? ' . not sure if you can see the difference , but i could feel it .

mehta and nair films are ' high orientalist art '  in the West , films like iqbal and dor are films by and for indians that actually make change in society with gentle nudging to society to look at itself . iconsider latter much higher , better ,watchable , superior , refined ,real etc etc . anyone in canada can make films with indians being raped and killed all over the place , what's the BFD about that  . as canadian , you will like films with western sensibility , which is the idea with films like water , and it is understandable so no debate there .

below you are going on total tangent with total irrelevance .

You know what?  In the last two weeks, THREE Indo-Canadian women in the Vancouver (Canada) area have been murdered:

-Navreet Waraich, stabbed to death Oct 29, husband Jatinder arrested and charged with 2nd degree murder.

-Gurjeet Kaur Ghuman, shot in the head Oct 20 while riding in a car with her estranged husband Paramjeet, who then shot himself.

-Manjit Panghali, 4 months pregnant, missing since Oct 17 on her way to prenatal yoga class, was found murdered on Oct 23.  Her husband did not bother to report her missing for 24 hours.  Case under investigation.

Since these incidents, Indo-Canadian women in the area have been coming forward and speaking to the press about their own experiences with domestic violence, despite the backlash they face at home.  They just want to stop the violence, hopefully save some girls from having the same experience.  So smartypants, would you say that the Canadian media should mind its own business, and stop telling their stories?  I don't think so.

glad we agree on something .

anyway lets drop the mehta ( you like , i detest these fakes ) .

back to dor .

[Parallel_Worlds]

This is definitely a great movie! It started out slow, but once you got sucked into the story it was in one word "WOW".
I loved the dialogs in the movie, especially those between the Bahrupiya and Zeenat. I don't feel subtitles would have done any justice to them. The humor was amazing, nothing outright, but smart enough to have you laughing out loud.
I agree with Smartypants on his assessment of Water vs. Dor. I watched this movie with a big group, and one of the girls' said this movie made her feel ashamed on being a Hindu (regarding the treatment of Meera). She is by far the most religious of us all, so I thought it was an interesting statement out of her mouth.
I feel you are more inclined to introspect in this movie, than in Water.

[Chanchal]

Smartypants, I'm sorry if you think that I was on a 'total tangent with total irrelevance'.  Please humour me as I try to clarify my point. 

The abuse of women, which certainly is not unique to Indian culture, is unfortunately a black spot on the name of Indian culture, right now in Canada.  It is current front page news in my city, and has been for weeks, for the reasons that I named below.  The Canadian media, far from 'reveling in violence to gladden western hearts' are printing stories from women who have come forward to expose the fact that their husbands, and in some cases even their sons, abuse them because they think that this is culturally their right.  Maybe they feel that they need to shame their families into treating them with respect. 

In a way, Water does the same thing;  it may make some Indians feel shame, because the world is watching it.  Dor lets the viewer walk away with a warm, fuzzy feeling, like everything is gonna be OK.  Water leaves the problems open-ended, like there is much more that needs to be done.  Cinema (like TV) is an art form that can be largely responsible for helping to shape public opinion.  There is no question that if public opinion in India (and everywhere else in the word) denounced the systematic abuse of women based on cultural norms, the world would be a better place.  I feel that whether the story is more shocking (Water) or sugar-coated (Dor) they are both important. 

OK, now back to Dor..

[smartypants]

The abuse of women, which certainly is not unique to Indian culture, is unfortunately a black spot on the name of Indian culture, right now in Canada.  It is current front page news in my city, and has been for weeks, for the reasons that I named below.  The Canadian media, far from 'reveling in violence to gladden western hearts' are printing stories from women who have come forward to expose the fact that their husbands, and in some cases even their sons, abuse them because they think that this is culturally their right.  Maybe they feel that they need to shame their families into treating them with respect.

again none of this is related to indians in india which is what both water and dor are about . canadian media is exposing abuse in canada as they should . imo this is irrelevant to our discussion ( seems like mehta should be making films about canadian women being abused instead , at least it is relevant to her society ) .

about water and dor , you are missing key point that water is film made by a canadian about oppressed indian women and shown only in north america ( or froo froo film festivals all over world ) . does it make any impact on indian society ? please answer this question first .

sure it makes western world look at indians with disdain and feel good about themselves , as it's aim is . but unless you are talking of canada imposing sanctions on india or invading india to liberate us from oppression  , please tell me what is the point of canadian making films about indians raped , whored and whatnot and shown in canada ? i keep repeating it is the same concept of a 'white man's burden ' to civilize world that makes these films high art and also leads to things like iraq . but please answer question : how water makes any change to indian society . thanks.

second but rhetorical question only : why dor did not face similar problems in india as mehta trumpets ?

[melbguy]

the trouble with deepa mehta is that she WANTS to create controversy to sell her movie. the violence on the sets should not have happen but i still believe if deepa mehta just wanted to make a movie she could have done it. But she tries to always play the victim card and look at me i am doing a favour for indians attitude when she is just making movies for a target audience that is not indian in the first place. I think people in india are reasonably easy going when it comes to freedom of speech and lots of movies have been made on riots, corruption, women oppression, untouchability or other old customs in india. All these movies were made and released without any problem. It is not that deepa mehta is the first person to make movies on these topics. Even after the controversy of the movie, she use that to sell the movie. if you see first trailer for movie, the first thing that comes is how the movie was banned in india and blah blah.

@ Dor. loved the movie. Nagesh kukunoor is a great director. Some of the dialogues were very touching without getting overboard.  Try and check his first movie, hyderabad blues, it is great movie made on a budget of less  then $100,000!!! .

[filmcrazy]

the trouble with deepa mehta is that she WANTS to create controversy to sell her movie. the violence on the sets should not have happen but i still believe if deepa mehta just wanted to make a movie she could have done it. But she tries to always play the victim card and look at me i am doing a favour for indians attitude when she is just making movies for a target audience that is not indian in the first place. I think people in india are reasonably easy going when it comes to freedom of speech and lots of movies have been made on riots, corruption, women oppression, untouchability or other old customs in india. All these movies were made and released without any problem. It is not that deepa mehta is the first person to make movies on these topics. Even after the controversy of the movie, she use that to sell the movie. if you see first trailer for movie, the first thing that comes is how the movie was banned in india and blah blah.

I haven't seen Water or Fire, the most controversial of Deepa's films, so I think  I am missing out a lot especially when it comes to the point of Indians feeling ashamed of themselves and feeling that Mehta is being disrespectful towards India etc. I agree with Melbguy and Smartypants to an extent on somethings: I think many people in India did stand up for these films and said that a select few cannot ban a film because they are offended by its content. I do think she has used this whole thing to her advantage and made her films more topical. She should just get over it and move on. The more she harps on this matter, the more attention she is going to get at the cost of others. I think this topic has been dicussed a lot within India and it doesn't have to be central to all her interviews and what not.

Also, these kinds of issues have been filmed in the past, and have not raised such a backlash. I think there is something about these films that evoke such strong reactions from people, especially Indians. I haven't seen either, so I am out of the loop in terms of being able to understand why this is so. Having said this, I think this backlash is also due to her being an outsider. An NRI.

[smartypants]

Movie Review: Dor - Sensitive Intertextuality
http://desicritics.org/2006/10/16/000614.php

[Warning: This piece contains plot spoilers]

There is a school of thought that believes that the true measure of whether a movie is great cinema or merely passing fare is whether or not there is that one screenshot that captures the ultimate essence of the entire film one that becomes the leitmotif of the film. Hindi cinema has several such moments - scenes that have become emblematic of the film as a whole, as well as signposts along the filmmaker's career. Scenes such as Waheeda Rehman sleeping on the couch in Chaudhvin Ka Chand, Nargis hunting for food in the mud in Mother India, Manisha Koirala's burqa snagging on a tree and her flinging it aside in Bombay.

And today, I saw a similar scene - when Mira threw off her odhni in Dor.

One of the smaller, lower budget movies of the year, Dor is the latest offering from Nagesh Kukonoor, Indian cinema's NRI engineer turned India-returned filmmaker. After giving us some seriously low budget films like Hyderabad Blues, Kukunoor's growing stature has given him more funding, while each successive film has shown his maturing into a talented filmmaker.

Dor is his most mature and well crafted movie. Compared to the raw amateurishness and boisterous enthusiasm (coupled with the pretty stilted acting) of his earlier ventures, his latest cinematic venture is a brilliantly executed work in understated, subtle film making. With a low-profile but competent cast, some extremely simple but powerful landscapes, and a very tight script, Kukunoor delivers a film that is worth seeing several times.

The film traces the journey of two women, Zeenat (Gul Panag) from Himachal Pradesh, Mira (Ayesha Tankia) from Rajasthan, on their journeys of separation, loss, friendship and liberation. Both women are married to husbands whom we see leaving for Saudi Arabia at the start of the movie. When it emerges that while in the Gulf, Mira's husband has died, ostensibly at the hands of Zeenat's husband, one woman is widowed while the other is left knowing her spouse is to be executed for murder. Zeenat's only hope is to obtain a pardon from the victim's wife, and for which she undertakes the arduous journey to the desert state to track down Mira and convince her to sign the pardon.

Dor has been labelled a feminist film, in the sense that the narrative is entirely focused on the two women who are central to the plot. From the start through to the end, the male characters in the film serve only to progress the plot, but are also merely incidental to it. Kukunoor almost takes Thelma & Louise and injects into it a distinctive "Indian-ness", in terms of aesthetics, plot as well as character development. Both Zeenat and Mira face very different circumstances, both from their western counterparts as well as from each other, differing in language, religion and perspective, but each is ultimately Indian. Kukunoor fleshes out the disparities between them easily, both through narrative and cinematography - Zeenat and Mira are as different as their respective homelands of verdant Himalayan mountains and the arid Rajasthani desert, but this difference does not detract from their instant recognition of a companion soul in the other.

Kukunoor also manages to inject his story telling with a healthy dose of cross referencing to mainstream Bollywood, lending a unique intertextuality to Dor. Several references through dialogue, many of them to contemporary films like Munnabhai MBBS and Bunty aur Babli, and the use of Hindi film songs ("You are my Soniya", "Kajra Re") also help Kukunoor develop aspects to his characters that would have been challenging to flesh out otherwise. You can immediately recognise in Mira every small town girl that learnt the steps to famous songs, to be performed at family festivals in front of cousins and at wedding sangeets, while the Behroopiya's mouthing of filmi dialogues marks him out in five seconds as that small town performer who entertains in villages with his impersonations. Furthermore, this intertextuality is both a testimony to the over-arching influence of popular cinema in the lives of millions, as well as a fitting tribute to Bollywood. Kukunoor has done well in not going down the route of many "auteurs" who look down on their mainstream counterparts; on the contrary, he uses them intelligently to sustain the sparseness of his own narrative.

The film thus etches the characters of Zeenat and Mira as much through dialogue and situation as through visualisation and imagery. If Zeenat's overt fearlessness, but inner hesitation, is most clearly etched out as she stands cornered by two men in a doorway, silently clutching a small stone to defend herself, Mira's tender innocence is seen most clearly as she dances quietly in a dusty alley to You Are My Soniya, dressed only in the dull blue of the widow. Later, her distress at having to take a decision that affects another human's life, when she herself has been denied the freedom to make decisions about her her own life, is beautifully acted out. Kukunoor chooses to utilise all the elements of cinema at his disposal, rather than relying only on verbalising everything that is to be portrayed. Thus, we see Mira's desolation in her clutching a pink shawl retrieved from her deceased husband's belongings, while Zeenat's independence is seen in her striding confidently through mountains on her own, unaccompanied, to go visit her in-laws or work on her house, hammer in hand.

This is what good cinema is about. This is what we have expected from our new breed of directors but have not seen much of until now. Kukunoor is to be lauded on reaching a stage of maturity in his film making through a relatively brief filmography. From Hyderabad Blues to Dor, he has crossed a big gap and has given us one of the best movies of the year, if not decade. Dor is a tribute to the strength of the individual will to make its own decisions and bear their consequences; to the power of humanity and to the complexity of human relations. This is a definite 6 out of 5 - go watch it or you'll miss out on some of the best cinema in years. And when its out, go buy the DVD and watch it again.

A final comment on the closing sequence. Kukunoor's intextuality continues, with a tearful departure at a small train station. Zeenat is leaving, and takes with her Mira's pardon. Unlike when Mira's husband was going, this is a solitary departure, alone, without the strictures or support of family ties.

Here, we are treated to a scene of greater pathos - Mira hands the pardon to Zeenat through the grill of the train window. With that pardon, she hands across not only her forgiveness, but her desire for revenge, and in a sense, her one and only friend. For surely, won't a married Zeenat will leave Mira to her own private desolation? What we see instead is a desi version of Thelma & Louise, with Zeenat holding out her hand for Mira to catch. But in this case, because this is a Hindi movie which is to have a happy ending, we are not looking at two friends about to drive off a cliff, but at two friends who are looking into the future.

It is virtually impossible to not think of Dilwale Dulhaniya Le Jaayenge, when Simran must beg her father to let her go with Rahul. Unlike Simran, Mira must not beg for freedom from her constraints as personified by anyone; her boundaries are made amply clear to her in her own widow's garb. Seeing in front of her a future, a life and a friendship, Mira chooses to run and board her own life.

And as she does so, she lets her dull blue widow's odhni fly away.

there is link to one more review from this webpage that says this film is in class of rdb .

[Chanchal]

Smartypants, the questions that you've asked me, I've responded in the Deepa Mehta Trilogy thread...

[Brindavani]

Just saw this movie and it is a really good movie by Nagesh Kukunoor.  All 3 characters, Mira, Zeenat and Behroopiya played by Ayesha Takia, Gul Panang and Shreyas Talpade did excellent. 

Very nice. 

[filmcrazy]

This is one of the most beautifully made films. The beauty lies in its simplicity and honesty about the triumph of the human spirit against all odds. Some fantastic performances by Ayesha, Gul Panag and Shreyas Talpade. Ayesha suprised me with her vulnerability and natural appeal. This is the first film of hers that I have watched and she blew me away. The same is true of Gul Panag.Her conviction, confidence and determination is truly astounding considering the difficult cirscumstances she is put through. I came away admiring these women as opposed to just feeling sorry for them.  To me, they just showed nothing is impossible. Freedom, happiness and strength lies within us and it is for us to find it. Shreyas just lights up the screen with his excellent comic timing. I loved his performance. Again, this is the first time I have seen him in anything and I fell in love with him.

The film is beautifully shot, and it is natural and unforgettable. So different and yet so amazing. I loved the feminist overtones in this film. Ayesha's jig to 'you are my sonia' is just so heart-warming. It made me tear up, especially the second time.

This movie is on my 'must own' list. I give it a 9/10. Please don't miss it.

[AKlover4life]

i just saw this movie yesterday evening, and it was better than i thought it would be. it was simple, sweet, and touching. however, i felt that it was TOO long, and moved way too slowly. they could've easily removed at least 1/2 hour. oh and the girl who plays meera looked like she was 12 years old. was she supposed to be? it was really odd to watch though. the songs and scenery were awesome!!