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Stern, strict and prestigious Ashok Bansal is an industrialist and the eldest in the Bansal family. He is a very strict man especially when it comes to his family, his younger brother, Anil... See full summary »
Poonam, a traditionally brought-up young woman, is to marry Prem, a groom chosen by her uncle. Poonam and Prem's faith and love are to be tested however, when an accident occurs and Poonam might be scarred for life.
Desperation to be with his only child forces a divorced man to take the guise of the child's nanny. Situations get really messy when the child's grandfather (the man's ex-father-in-law) falls in love with his disguised ex-son-in-law.
A poor but big-hearted man takes orphans into his home. After discovering his scientist father's invisibility device, he rises to the occasion and fights to save his children and all of India from the clutches of a megalomaniac.
Running away from home can't keep a couple together. A signed paper can't keep a couple together. Love can. While for most Love Stories, marriage is the "goal", the fact remains that marriage is just the beginning. Saathiya continues on, from where most love stories end. From the infatuation stage "when a couple thinks they are in love" right through to "when a couple discovers the true meaning of love". Aditya (Vivek Oberoi) and Suhani (Rani Mukerji) met and fell in love. But when they eloped and set up home hoping that just Love will do the trick - well that's just the beginning of their story.Written by
Remakes, remakes and remakes. Some from Hollywood and some from South India. And the results at the box-office are mostly the same. FLOP! But why? Because these remakes can't achieve the status of the original versions (although good story, good performances or good music). Therefore directors are remaking their own films in Hindi but are failing, as well, because there is too much South Indian touch (Nayak Mudhalvan; Rehna Tere Dil Main Minnale; Dil Hi Dil Mein Kadhal Dhinam; Doli Sajake Rakhna Aniathiypravu etc.).
Saathiya, a Mani Ratnam creation, is a great movie. The film's strength is that it is suitable to North Indian milieu but fails to reach the quality that `Alai Payuthey' spread.
So where is its weakness then? Vivek Oberoi? Certainly not! It's a difficult job to top Madhavan's great performance in `Alai Payuthey'. Vivek won where Madhavan failed.
Rani Mukherji then? She portrayed her character, Suhani Sharma, completely different as her counterpart Shalini did in the original version. Both were great and for me difficult to say who was the better one.
So A.R. Rahman? He was the one who gave the wonderful scent to `Alai Payuthey' which you won't forget so easily. The songs and the background score which is filled with soulful tunes are absolutely great. It's one of Rahman's best works and he knows that he can't top it. As a result he didn't bring too many new songs which would destroy his early work. His new songs are nice to hear and fit to the North Indian milieu. The orchestra in the climax where Vivek apologizes to Rani is absolutely mind-blowing.
Gulzar then? I must admit that I don't understand Hindi and not much Tamil (thanks to English-subtitling) but the songs have good meanings and are as good as Vairamuthu's work for `Alai Payuthey'.
Perhaps Shah Rukh Khan and Tabu? Shah Rukh Khan is fantastic in his 10 minutes and portrayed the role differently as Arwind Swamy did. Tabu is unfortunately not as good as Khushboo who has done a superb job in Tamil.
But where is then the problem? It's certainly unfair to compare a youngster's work like Shaad Ali's with that one of a genius like Mani Ratnam's. Ali's direction is very good and is the best debutant director since Farhan Akhtar for Dil Chahta Hai. But small scenes which might be unnecessary are missing to achieve a very good quality. For example, in Saathiya `Aditya' has no one whom he can tell all his sorrows and lands up as a depressed husband. `Karthik' in Alai Payuthey talks with his Malayalee neighbour/houseowner (in Hindi Tinnu Anand) about love, marriage etc. and gets new hopes to set a new beginning in his marriage. The climax also in Tamil which has a more realistic look is better than in Hindi which is too filmy despite Vivek's performance and Rahman's orchestra. A clear parallel between Shah Rukh Khan/Tabu and Vivek Oberoi/Rani Mukherji could not been attained, as well.
But Ali has given the film a more youthful look than Mr Ratnam has done (more hanging out with friends, parties etc.) and like mentioned before, a suitable film to North Indian audiences and it is a film that is worth watching (though not as good as `Alai Payuthey').
Alai Payuthey 9.5/10; Saathiya 8.5/10
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