A movie like 'Saawan - The Love Season' can become inspiration and reason enough to form a society for preventing cruelty to cinema.
Director Saawan Kumar's is just one of those old mindsets at work. His movie, apparently titled after his own name, is a typical love story, set in a foreign location and over-punctuated by repeated volleys of unbearable songs that are randomly squeezed inside the plot without any rhyme or reason.
To change things a bit, Saawan Kumar introduces an unusual character in the story - a man who can foresee the future. The dire predictions that this doomsayer makes about the movie's heroine and her family eventually come true. The movie's end has a twist in the tale. But a tail cannot for good wag the entire movie dogged by done-to-death clichés.
'Saawan' stars Salman Khan, Kapil Jhaveri, Saloni Aswani, Prem Chopra, Ranjeet, Bobby Darling, Kiran Rathod and Johnny Lever.
Kapil and Saloni have previously acted in Saawan Kumar's 'Dil Pardesi Ho Gaya', which was a failure at the box-office. The fate of 'Saawan - The Love Season' may not be different.
Like any other mushy story, 'Saawan' begins with two people falling in love at a foreign location.
Raj (Kapil Jhaveri) and Kajal (Saloni Aswani) are two Mumbai-ites holidaying in Cape Town. After a little persuasion, the love-struck boy manages to win the girl's heart, following which the two go about singing and dancing to their heart's content.
To the further convenience of the two lovers, their fathers (respective) also turn out to be childhood friends. Everything is hunky-dory.
Lightening strikes just minutes before the interval when a strange man (Salman Khan), with an unkempt looks and the dressing sense of a grunge rocker, makes an entry into the movie and saves the movie's heroine from an accident.
The subsequent reels will show him as the ultimate saviour. He is a man gifted with an ability to see the future. In one such prediction, he declares to the heroine that her father would die at night. The prediction comes true. Next, he predicts that the heroine (Kajal) herself would die in the coming days. Now, here one wonders why the writer of the movie was so biased against the heroine. The poor creature is bombarded with misfortune after another, while the hero (Raj) merely makes loves and merry.
Having heard her unfortunate fate from Salman, the heroine seemingly decides she wants to have her share of song and dance before she dies. So off she and Raj go for lovey-dovey numbers again.
Just when the movie's infectious story begins to derail a viewer's sense and reason, the director introduces a twist at the end.
Only Saloni Aswani, the heroine, manages to cut a notable enough performance in the film. Kapil Jhaveri has lesser footage and he is strictly ok.
Comedy by Johnny Lever and Bobby Darling hopelessly falls flat on its own face.
Salman Khan knows not how to bring more than a few selected expressions on his face. He wears a sombre look, walks with an invisible, self-imagined aura of a man who has suffered a great deal and casts glances with glazed expression in eyes. Even his styling in the movie is appalling. He looks more like a headbanger coming straight out of a rock concert than a bereaving man with an uncanny quality to see the fate of others.
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