I had no idea what Hazaaron Khwaishein Aisi was until I watched it. Srihari had written a review which I comfortably forgot to read. I heard him comment elsewhere about HKA being a good film and hence I wanted to watch it. Turned out to be sweet.
Hazaaron Khwaishein Aisi a.k.a Thousand Dreams Like These, has Che Guevara, Beatles, Bob Marley, naxal movement, sex, politics and love in widely varying proportions. All these described and experienced through three people who lived in the post-independent India during 70’s. HKA can just me defined as Sudhir Mishra’s tribute to the 70’s generation. With Subha Mudgal’s opening song and those explicit politically charged lines on screen, I was certainly suprised that it wasn’t the kind of film that I expected it to be from the DVD cover.
Delhi. St Stephen’s College. Three people who meet here as friends, with just their emotional attachment in a triangular fashion, see the extremes of life by living life they choose too. After a decade, their lives changed beyond recovery, their love undying. Delhi was intellectually charged up at 70’s. Voices in need of reformation ended up being naxal movements. Many rich class college yuppies were moved by idealistic ideas and moved to villages for reformation. Sidharth is one such. With the corrupt political cloud over Delhi, one could just talk his way-up the career. Check-out Vikram. Then we have the girl. For the 70’s she is the educated, independent but emotional Indian woman. So we have Geeta. They follow life and it’s dark corridors only to finally end up with thousand dreams like these.
Sudhir Mishra’s portrayal of India at the politically charged 70’s era is something that I couldn’t relate to. Not many movies have tried to tread this way. With the cry for true freedom, political imbalances and the times of emergency forms the canvas of HKA. Without harping too much on the political issues, Mishra takes a tight-rope walk. He wins. He wins first for his intriguing, non-boring and highly charged narattive of HKA. Then for his casting skills. Kay Kay Menon as Sidharth, Shiney Ahuja as Vikram and Chitrangada Singh as Geeta are great finds for theie respective roles. Chitrangada Singh looks and smiles like Smita Patil. The kind of dark beauty we see in Balu Mahendra’s flicks. Kay Kay has a role that needs downplay. He does that with grace. Shiney Ahuja as the vivacious Vikram out performs others. The talkative role adds up to the personality. If only Mishra would have mixed the english/hindi in proportion, it would have been a rational move. There was excessive english even after the characters live in the deepest villages of Bihar, for nearly a decade. Could have been handled better.
Yet another gem among the heap of half-baked nonsensical hindi films made these days. If you get some leisure movie-watching time, Hazaaron Khwaishein Aisi is a good watch.
BTW, I also wanted to comment on Madhur Bhandrarkar PAGE 3 which was dubbed as a rare film of the year. All I wanted to say is that Page 3 is one among the heap that is mentioned in previous paragraph. It should have been directed by Shobha De. She has probably lived and written more about Page 3 people of Bollywood than anyone. What starts as good idea ends up as a pretentious movie that canont convert the original idea on-screen. The whole movie is sprinkled with skin-deep characterisation, party clips, neon lighted dance floors and low/no hip culture of the ‘happening’ bollywood. Madhur Bhandarkar’s earlier flick Chandini Bar was laudable. He should probably be highlighting Chandini Bar in his filmography. Page 3 is yet another sample of hazaaron bad films aisi.