Gehraiyaan is nothing like the mainstream Bollywood except for the fact that it has mainstream Bollywood actors and stars.
THE LOGLINE
Alisha Khanna, 30, ambitious, now finds herself at a crossroads in life. Her six year old relationship has grown monotonous, her career seems to be going nowhere. But just when she had begun to accept this reality as unchangeable, her life is usurped by the arrival of her cousin, Tia and her fiance, with whom she bonds over a troubled past and a common wish to break from its confines.
Deep! Yes, the logline promises to be as deep as the Motif of the sea used intermittently. Technically the logline has all the elements - The Protagonist and her world are clear and so is the Central Conflict.
STORY IDEA and SCRIPT
The Story by Ayesha Devitre Dhillon and Shakun Batra is not exactly new but is honest.
Zain is the one who cannot live in the past and Alisha cannot leave it. But the fact remains that how much ever we may try we cannot get away from it.
This is the story idea that the writers try to weave around with not so very complex characters. I say “not so very complex” because like the metaphor of the unfathomable ocean, Shakun and Ayesha walk you to knee deep waters and then leave you to tackle with your own Gehraiyaan. Even if intentional, it works only to some extent.
The only reason I could probably see through was the shallow performances.
I love the fact that the writers chose to tell Alsiha’s story and not Zain, like mainstream Bollywood always does. Thankfully, here the writers don’t succumb to the 'Male Protagonist Bug' but unfortunately the makers succumb to 'STAR POWER'. Nothing wrong, if content sells; but never at the cost of underwhelming performances.
SCREENPLAY
The Screenplay by Sumit Roy, Ayesha Devitre Dhillon, Shakun Batra and additional screenplay by Yash Sahai is stretched 15 pages over and above the demand of the story.
Initially the writers do not waste a single page to bring home the central story idea and straight 15 minutes into it we know it. I love that!
'Show, Don't Tell' this technique works. Alisha cropping others out from her pictures and her fixation with 'the right place for Garbage' add to the layers that Alisha's character is build with.
The act two is where the pace gets slower and slower. The writers could have delved into the resolution of the conflict little deeper than shallow. More of the past and present merges of Alisha’s story.
Dialogues
Yash Sahai and Ayesha Devitre Dhillon are natural.
It was a clever move to release it on OTT because it is a content that one would like to watch on their devices with headphones on. Pause, hear the lines again and ponder or reflect.
CHARACTER ARC
Alisha’s character is nicely crafted. The complexities of her past that meddle with her present are thoughtfully etched but they needed deeper exploration. They are only touched upon.
The other characters remain single note playing in a symphony.
BEST SCENE
Alisha’s breakdown scene with Jitesh in the car. Her helplessness and vulnerability come through.
WORST SCENE
The casual chat scenes between the two couples, I would not say are badly written but probably not what the performers are accustomed in doing.
ON THE SCRIPTOMETER
It is a good script wanting to be performed by excellent actors.
NOZZER PARDIWALA
*Since I review content from the perspective of the SCRIPT alone, I may not comment on the acting, music, and other aspects of the film, however exceptional they maybe.
Watch the Script Review here
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