![]() ![]() Shinde tries a couple of new-Bollywood tricks-interrupting songs with short scenes, for instance-but there’s little to quicken the pulse, let alone set it racing. ![]() Dear Zindagi has one such explosion, but it’s awkwardly written and exists more as an excuse for Alia to be able to do a big shout-y scene. A relevant point of comparison might be Kapoor & Sons -another Dharma production about family secrets, one which didn’t allow its picturesque setting or devastatingly pretty cast get in the way of ugly confrontation. Laxman Utekar’s cinematography is glossy and impersonal, Amit Trivedi’s music inoffensive and over-used.Īt times, I found myself wishing the film would flail about more. Goa looks as pretty and boring as a picture postcard. There’s a token gay character, whose only significant scene seems to exist to show how chill Kaira is. I can understand the urge to present Kaira-a cinematographer at the start of her career-as more than competent, but having her advise a director on how to reshoot his final scene, and his actually welcoming the suggestion is so far-fetched it’s almost science fiction. ![]() Despite a few nicely worked-out traumas, there isn’t much that disturbs Dear Zindagi’s placid surface.
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