Is film ki khasiyat ye hai ki iski kahani baaki sab cheezon par haavi hai. sab actors apne apne kirdaar nibhaate hain aur chale jaate hain magar kahani ke upar koi nahi hai. aur aisa isliye mumkin hua kyunki is film mein zyaddti nahin hai. minimal hai. controlled, restrained and hence gripping.
Is film ki har baat, har scene, har sub-plot us aakhri patte ki taraf le jaate hain. aur wo patta sirf ek emotional climax nahin hai, wo ek way of life hai, in sab characters ka aur shayad is film ke director ka bhi. Ek cheez par itna bharosa, itni lagan ke uske na hone se ultimate tragedy, maut. Koi bhi film kisi text se adapt ki jaaye to isi tarah ki jaaye. Us original ke jazbe ko ek nayi kahani mein ghol kar jab piyein to nasha aur bhi badh jaata hai. ek film (aur wo bhi commercial film) ke saath aisa karne mein risk to hai magar Vikram Motwane se agar poochein toh the risk must be worth it.
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Background score aur camera ke beech ka dance bahut kuch kehta hai. chahe interval se pehle ka revelation ho ya phir ek viraan kasbe ki galiyon mein bhagdar.
The birth of love through an infliction is commonplace for cinema and storytelling, and the same has been beautifully framed in Lootera.
The less-assured camera in the second half gives the unreasonable faith believability.
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Ye jo shabd hain na, minimal, understated, simple; in shabdon ke saath ek bahut badi problem hai. ye gunjaaish nahin chhodte. Agar zara bhi zyada kiya to pakde jaaoge. Baazi ka gaana hi kaafi tha, itni baatein kyun? “Dalhousie, 1954” supertitle kyun, “cigarette smoking…” to kam se kam kone mein dhundhla sa hota hai. jis bachpane aur ummeed se bulb jal-bujh raha tha usi tarah se wo patta hawa mein jhool raha tha. Uske baad ka closure kyun?
Khair, ye sawaal personal hain. Mere hain. Aur jaisa kisi bade aamdi ne kaha tha, ek film ka sachha criticism ek aur film hai, to shayad ye sab excesses meri us critical film mein nahin honge.
ARTVIEW 
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