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Laaga Chunari Mein Daag

Release Date : 12 October 2007
Year : 2007
Banner : Yash Raj Films
Presenter : Yash Chopra
Producer : Aditya Chopra , Pradeep Sarkar
Director :
Genre : Drama
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Laaga Chunari Mein Daag SYNOPSIS

Badki and Chutki live a fun-filled life in Banaras, playing pranks, sneaking off to see a forbidden mujra, and soaking up all the excitement that goes on the ghats of the Ganga. Badki is aware that the family is in dire straits, but she and her mother protect Chutki at all costs. When things get worse, Badki decides to go to Mumbai and seek a living for the family. Alone and unsupported in the midst of the urban jungle of Mumbai, Badki battles with dark forces, keeping her focus on her purpose to support her family and continue Chutki’s education. She deliberately morphs into someone else, leading a secret life full of murky compromises. When Chutki comes to Mumbai to work, things take a dramatic turn. Badki’s life turns into a minefield, as she has to hide her secrets from Chutki. Chutki finds success at work, and love that delights her heart. Badki finds the magic of love, but lets it slip away before it can blossom, as she believes it’s not in her destiny. She battles menace and blackmail alone, not letting these dark shadows fall on Chutki or her family. But her dual life is revealed, and the two sisters are face to face, in a confrontation neither had expected. And when love beckons Badki again, the whole family is thrown in a tumultuous storm. Everything threatens to explode in their faces, destroying all of them. Will Badki get the happy ending she deserves? Or will the shadows of her past douse the lamps of hope? Will her secrets ruin Chutki’s happiness? Can their parents face up to all this?

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Laaga Chunari Mein Daag REVIEWS

Laaga Chunri Main Daag: Simply moving

By www.MovieTalkies.com, 13 October 2007 3 / 5

Pradeep Sarkar’s Laaga Chunri Main Daag reveals the same sensitive touch that the director revealed in his first venture, Parineeta. The only area which seems to be weak here is the story, which is age old and ridden with clichés. But it is Sarkar’s greatness that he manages to use this age-old material, clichés and all, and still manages to deliver a film which tugs at your heart. The story is one that is often told in Hindi films—the small town girl who comes to the big bad city and is cheated into sleeping with the manager of a call centre on the lure of a job, and then finally slips into the flesh trade, in this case, she becomes a high class escort girl. Badki, or as she is called by her loved ones, is the eldest of two sisters of a middle class family living in Banaras. The two sisters, Badki and Chutki (Konkona Sen Sharma) live a carefree life in Banaras despite all of their family’s problems. Their father has retired, and has anyway lost all hope in life, while the mother stitches petticoats by night to supplement the family’s meagre income. Badki is all too aware of the precarious financial situation of the family. Their house is under litigation and matters reach a head when the father falls sick. Promising to be the son that the father never had, Badki leaves home and heads for Mumbai to find a job. Of course, here one has a quarrel to pick with Sarkar, about why he had to resort to the cliché of women only resorting to the flesh trade anytime they want to make money. But be that as it may, Badki transforms herself into this high class escort girl and earns in lakhs. The family’s fortunes take a turn for the better. The house is repaired, Chutki manages to finish her education and lands a job at an advertising agency in Mumbai. The father’s health improves, as does his disposition. Chutki also finds a boyfriend in Vivaan (Kunal Kapoor). All is fine till Chutki and Vivaan decide to get married and Chutki stumbles onto her sister’s secret life. The rest of the film is about how Badki gets a second chance in life to find her own happiness, bolstered no less by her sister’s love, acceptance and support and by the support that she receives from the man in her life. The film truly belongs to the three actresses, Rani Mukherjee, Jaya Bachchan and Konkona Sen Sharma. The men appear as mere appendages in this film, though admittedly very charming ones at that. But it’s the interaction between the sisters or the ones between the mother and her daughters, which really tug at your heart strings. Despite the clichéd nature of the plot, the film still comes across as a moving story. One of best things about Sarkar’s treatment is the subtle touches that he brings to the film. Nothing is overdone. There is no huge drama happening with over-the-board, high voltage emotions. Everything is as it should be. Of course, his actors have helped tremendously in the manner in which they have executed his vision. Sarkar’s use of colour, his stunning visual sense, specially the scenes at the ghats of Benaras, is captivating. Benaras and its ghats have been a subject of fascination for many filmmakers, beginning with Satyajit Ray, all of who have brought alive the piquant dichotomy of this city. Everything seems to come full circle at its ghats. While not getting so philosophic about the city, Sarkar has managed to capture its myriad bylanes and the boisterous nature of its ghats as well as their serenity. The film’s music, given by Shantanu Moitra, will probably settle in with time. But the number – Hum To Aise Hain Bhaiyya is easily the most popular and should definitely top the charts. The film should ideally belong to Rani Mukherjee but Konkona manages to steal the show in most places. The scenes between Konkana and Kunal, easily one of the most charming actors on screen, have a life of their own. They provide a delightful interlude to the emotion laden scenes between Rani and Jaya or Rani herself. Konkona seems to be growing as an actress with every film. In this film, she manages to play a typical Bollywood heroine, dancing, singing and romancing. What is most endearing about her is her naturalness. In front of her, even the effervescent Rani seems slightly jaded. Kunal Kapoor is an apt foil for her. If Konkona comes across as spontaneous on screen, Kunal comes across as extremely charming. This is another actor too, who keeps improving with every film that he does. Jaya Bachchan too delivers a stellar performance as the stoic mother. Anupam Kher has little to do in his role of the defeated father, but he manages to do full justice to it. One would have loved to see a little more of Abhishek Bachchan, but he is there in what almost seems like a guest appearance. He exudes his own brand of charm and manages to leave an impact in the little bit of screen time that he has. The film is Rani’s in most parts. She essays the role of Badki and then later Natasha, the call girl, as only she can. It is another nuanced performance by this actress. Sarkar’s film retells an old story but still has the power to captivate. He is a master storyteller and Laaga Chunri Main Daag best exemplifies this.

Does Not Disappoint!

By MovieTalkies.com, 18 September 2007 3 / 5

The expectations from the music of a Yash Raj film is always extremely high and when you add to that the fact that Laga Chunari Mein Daag is directed by Pradeep Sarkar, whose Parineeta was a soulful classic, the expectations rise even higher, especially since he has repeated his Parineeta music director, Shantanu Moitra. The title of the film itself stems from a classic Manna Dey song from the film Dil Hi To Hai, and leaves you to wonder what this album will offer. The listener will not be disappointed, although the songs will take a bit of time to pick up, but for those who yearn for original compositions and lyrics which allow songs to take the film ahead, this album is a winner. The album starts off Hum To Aise Hain with Sunidhi Chauhan singing for Rani Mukherji and Shreya Ghoshal singing for Konkana Sen Sharma along with Swanand Kirkire and Pranab Biswas also adding vocal support. This number is by far the best of the album; banjo, flute, tabla, soft percussions and natural sounds are all supports for the vocals which dominate this number and both Sunidhi and Shreya carry the song off perfectly. The lyrics by Swanand Kirkire are truly original as not only are they poetic and fun, they set up the story of the film, establish the characters and the Benaras setting."Majdhar mein humri naiya, phir bhi dekho mast hai hum bhaiya. Hum to aise hai bhaiya. Arre hum to aise hai bhaiya", these lyrics essentially encapsulate the mood of the song, which in spite of not having any great melody, will have you humming the tune. Babul Supriyo and Mahalaxmi Iyer take over the vocals for Zara Gungunalein Chalo which comes as a surprise because it starts in Italian (similar style to Do Lafzon Ki from The Great Gambler) which is a stark contrast to the very Benaras feel of Hum To Aise Hain. The use of the guitar is superb and the accompanying brass orchestra makes for a great overall composition which gives it a European feel and the song although modern, has a hint of the 70s romantic melodies to it which is a definite change from most of the recent numbers. Babul Supriyo and Mahalaxmi Iyer infuse the soft romantic mood required for this song perfectly. The lyrics are simple and apt for a number like this and help infuse the classic feel to it. The upbeat momentum of the album takes a turn with Chunari Mein Daad, sung by Shubha Mudgal and Meeta Vashisht. Do not be mistaken, this song is not really like the original in spite of the fact that it has similar music and lyrics. The track is more of a fusion number with an almost"rap" like rendition by Meeta Vashisht which starts off the song and the original lyrics being sung by Shubha Mudgal. The song has a completely different, almost sinister mood giving it a trance like effect. Hats off to Shantanu Moitra for this unique composition which he has handled in a manner to absolutely avoid all comparisons with the original song. Back to a romantic, fun mood with Ik Teekhi Teekhi Si Ladki, where KK joins Shreya Ghoshal for this song in which the lyrics are more interesting than the actual composition simply because one feels the characters and their relationship being established through the lyrics (guess is that this track will be picturized on Kunal Kapoor and Konkana Sen Sharma). The guitar, flute, brass and percussions are all used, but like Hum To Aise Hain, the vocals and lyrics are the main focus of this song. Watch out for the techno version of Hum To Aise Hai in the middle of the song. A drastic change in mood with Ehi Thaiya Motiya which is a classical mujra number sung by Rekha Bharadwaj. Not a number for the masses, it is purely for those who enjoy Indian classical compositions and will surely be a situational mujra in the film. Rekha Bharadwaj carries off this very difficult number with aplomb. The final track brings together Sonu Nigam, KK, Sunidhi Chauhan and Shreya Ghoshal (which in all probability brings together Abhishek Bachchan, Kunal Kapoor, Rani Mukherji and Konkana Sen Sharma on screen) for this fun,"cheed chaad" Kachchi Kaliyaan. The song starts off with a 60s style which very quickly changes over to an ultra modern composition in spite of very traditional lyrics. A truly unique composition in the way it combines a very traditional sound and feel with a modern fusion. Laage Chunari Mein Daag may not wow you on your first listen, but it is one of those albums which grows on you over time. The combinational of Shantanu Moitra’s unique compositions and the complimenting unique lyrics of Swanand Kirkire lift the songs to a level that once the viewer sees them picturized, the songs will grown on them further.
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