Photograph (I) (2019) User Reviews

A Film That Thrives On Silences!

[iamggn · 8/10 · 17 March 2019]

The city's love affair with unusual encounters is an element that sets it apart, and having stayed in Mumbai for over two decades, like most other Mumbaikars, there exists a set of people, and stories, and conversations that I keep going back to.

To story of Photograph focuses on one such peculiar encounter that eventually translates into an unexpected connection. Rafique and Miloni meet by chance, and a product of that moment gives them disparate reasons to meet again. The screenplay convincingly lets the viewers comprehend the circumstances the protagonists are accustomed to through little, insignificant instances; Ritesh Batra's tendency to not be too loud and lucid replenishes the cinematic narration with a pinch of exquisiteness. The role of supporting characters is vital, because it is their expectations that largely dictate the protaganists' actions. To argue that the plot is unrealistic may not be entirely authentic, especially because almost every decision that Rafique and Miloni resort to is bolstered by the desire to divert from what is usual, to avoid what is mundane. However, if the writer compulsorily asks me to point out an element that is unrealistic, I would probably tell him that it is impossible for a CA Inter student to take out time for such lengthy hangouts.

The entire cast is spectacular. Nawazuddin Siddiqui is a natural, and it is phenomenal to witness him stick to his character throughout the run-time. Sanya Malhotra wonderfully portrays the introverted Miloni, who also harbors a quotient of curiosity. Farrukh Jafar as Dadi, and Geetanjali Kulkarni as Rampyari put up brilliant performances. Saharsh Shukla and Sachin Khedekar are impressive as well. Vijay Raaz, in an unpredictable role, is refreshing as ever. Jim Sarbh is decent. Ritesh Batra, who delivers a convincing comeback, is an artist that the industry must be proud of.

Photograph is a film that thrives on silences, and it is beautiful to acknowledge how, at times, they overcompensate for the absence of words.

A DEEP MEANING GENIUS FILM MISSES SOMETHING AT THE END

[SAMTHEBESTEST · 7/10 · 14 March 2019]

PHOTOGRAPH REVIEW :-



The Lunchbox was a Gem, by the Director called Ritesh Batra and this tagline was enough to create humongous expectations from Photograph. Additionally cast names like Nawazuddin Siddiqui & Sanya Malhotra and Brilliant Trailer upraised the bar. But in a Film it misses something at the end, even if lives upto to the expectations throughout the narrative. However, Photograph is the Confirmation that Director Ritesh Batra is a Genius and he will never come up with mainstream product.

Photograph is a deep meaning tale which begins with the Photograph and then Flows like a stable River. In between many situational laughters, realistic humour and unusual screenplay keeps this one engaged. Nawazuddin Siddiqui and Sanya Malhotra are totally amazing as lead pair. Their Expression, thier accent, thier decency is surely gonna fetch them many accolades. Cinematography is pure realistic and smartly done job which can be noticed through angles, zoom ins and blur moments. Director Ritesh Batra brings another offbeat and Loveable film but he fails to bring the same convinction in the climax. But the good news is, he never loses the Quality, he keeps it intact for 110 minutes.

Deep meaning films are hard to digest for massy audience and some classy audience too doesn't really reach to the core. Photograph could be one of those film where the Final Impact is not that powerful. Little bit more detailing in the Cliamx and Photograph would have been a Classic. Unfortunately it misses the Big mark by short distance, still doesn't fail to give you experience of watching something unusual stuff. Overall, Photograph is another Deep and Genius film by Ritesh Batra, only 1 mistake doesn't make it bad or Average, it is still a Very Good Film by far.

RATING- 7/10*

Photograph isn't a perfect shot but it's interesting and takes you back in time.

[Tejas_Vinda_AITS · 7/10 · 14 March 2019]

Rafiq (Nawazuddin Siddiqui), a struggling street photographer at Mumbai's Gateway of India, convinces a reclusive youngster Miloni (Sanya Malhotra) to pose for a picture. Their chance encounter leads to self-discovery and a fascinating tale of slow-burn romance.

The pacing is frustrating and needs a lot of patience but Batra's unique take on love, with shades of Basu Chatterjee's Chhoti Si Baat..

What does stand out is the brilliance of Nawazuddin Siddiqui. He is the master of his craft and conveys unsaid emotions effortlessly. Sanya underplays a bit too much but gradually holds her own in front of an actor like Nawaz.

If you seek purpose or motivation behind someone's certain behaviour, you won't find it here so Photograph eventually struggles to keep you engaged,,However, if you appreciate ambiguity, the film leaves a lot to imagination and interpretation, which has its own charm. The open-ended climax in particular is cleverly done. It makes you ponder and crave for more.

Photograph isn't a perfect shot but it's intriguing and takes you back in time. Like love and life, it's uncertain and hopeful.

Interesting movie slow paced culturally linked

[moviemom23 · 7/10 · 27 August 2019]

Not any BIG spoilers, just general storyline. I found this movie interesting, as I am fascinated by other cultures we don't normally hear about here in US. How romantic relationships develop, everyday life, arranged marriage, huge divides between classes- I learn from watching a film like this.

This is a sweet story about a shy middle class (Muslim?) Indian girl who becomes enamoured with a poor street photographer. I don't know if this would even be possible, but love is disobedient is it not? Even in Mumbai, according to this film's director.

The Muslim India is featured here, which I've not see before, I've only seen films about Hindus. At the end of the day, they could have been Americans, it's a familiar story of one from the wrong side of the tracks and the age old question: can it work?. The city scenes, workplaces, school, homes, lovingly portrayed. Food too! Which I adored seeing.

If you enjoy watching ordinary life in another part of the world and you're not in a hurry, try it out. Nothing much happens, but I did like it, and the actors were good. Gramma Dadi is a bit too annoying, but then, older folks can be irritating, and we love her anyway.

I do wish the ending was a little more satisfying, and more insight about these two would have gone a long way in understanding their extreme shyness.

I would say, give it a go if you are romantic.

Very touching.

[Amyth47 · 7/10 · 29 July 2019]

My Rating : 7/10

Nawaz is a favourite and any movie/TV show he's in I am sure to watch it. 'Photograph' is a much more delicate, sensitive and simple story of two strangers brought together by coincidence.

Is a damn good slow-burn, those wanting traditional naach-gaana may get bored but otherwise a good effort from the director of 'The Lunchbox'.

Beyond Bollywood Cliches, Beauty Blossoms...

[hellojaeson · 9/10 · 27 May 2019]

Non-spoiler summary:

No dancing. No neat easy convenient answers. There is a glint of promise. Sometimes life is good enough if we have a little light when all was darkness.

-----

Spoilers below:

Rafi is frustrated poor struggling bachelor in busy buzzing Mumbai. Meloni has a family who has enough money to keep them from poverty but they're not super rich. Both are struggling in their own way to be successful.

For Rafi, it means being a good grandson to his grandmother who's been his heart. His life's centre. Every decision he makes, he thinks about her.

For Meloni, it means studying hard and perhaps one day having a life beyond her parents middle class expectation.

---

Ritesh Batra is an exquisite director for these actors. He makes these characters feel real. They don't have charismatic scene chewing one liner zingers. They don't have catchphrases. And most of all they don't win each other over by dancing suggestively soaked in rain.

They court each other the old fashioned way; through the language of listening and wanting to offer empathy to each other.

The characters engage in the dance of trying to understand one another.

This pantomine we all participate in, is the hardship of courtship. We don't know what the future will bring. We try our best to be good for one another.

We see that in Indian culture, people have tried to overcome the hardships by creating a parachute by way of arranged marriages. Why open yourself up to the possibility that a long courtship goes nowhere? Why not simply have something assured. A guarantee of sorts.

Meloni doesn't accept that road as a source of comfort. She doesn't know much about the world but she knows herself. She can't just be arranged into something like a jigsaw is arranged into a puzzle. She doesn't even know what the picture looks like, so where does she fit in?

Rafi is man who wants to repay his grandmother for all her love and kindness over the years. And he doesn't allow himself any joy until he can pay off her debts. He feels guilty about her money problems. He can't live his life. He can't be happy until he has saved his grandmother.

Denying himself pleasure results in his slow death. His angry frustration that he is saving up for some enormous debt repayment 30 rupees at a time. He doesn't look like he'll ever get to solve their debt. He isn't the smartest guy. He's just someone who is doing his best.

The film also gets us to ask the question, do you need to be smart to be loved?

Love and friendship and the permanence of our vows are expressed through family gatherings, friends poking fun at each other, grandmothers seeing through your soul and two people who have much love to give but don't know how to say it.

We see ourselves in the lead characters. The self we carry when we feel lost in big wide world. Set adrift, we have only our fragile human hearts to guide us like a compass towards some destiny or dream.

Ritesh Batra's characters are alive with legible subtexts, telegraphing their fears, hopes, shame, frustrations and humanness in all this chaotic mess of living on planet earth.

Rafi's grandmother tells her devoted but frustrated grandson to let go of all his guilt. All his sense of duty. All his hardships. And embrace some of the now.

Photograph is amazingly rich with nuance and funny characters and quiet connection. If you loved the unexpected warmth of Lunchbox, you should appreciate this modest masterpiece.

What Develops from a Simple Photograph

[billspaniel · 7/10 · 1 January 2020]

A photograph captures a split second. A series of photographs becomes a motion picture and tells a story.

The story that director-writer Ritesh Batra tells in "Photograph" is of a street photographer, Rafi (Nawazuyddin Siddique) in Mumbai, India's most populous city. He hawks his service to anyone who'll pay 50 rupees. One day he approaches a young woman (a mousy Sanya Malhotra) and offers her a cut-rate price. He snaps her and produces her portrait from his portable printer, but she's called away before he can complete the transaction.

On the way to his flat, which he shares with three or four other bachelors, he hears that his grandmother is not taking her medications because he hasn't found a girl to marry. So he sends his grandmother, Dadi, a copy of the woman's photo, claiming that she is his girlfriend. Dadi, who lives in a village several hundred miles away, notifies Rafi that she is on the way to check things out.

How can Rafi find the girl in a city of 20 million? Fortunately a photo resolves the problem. A billboard advertising an accounting school shows the young women, Miloni, as its top student. By persistently taking a bus that picks up people near the school, Rafi meets Miloni and persuades her to pretend to be his girlfriend as long as Dadi is in town. For various reasons, including that she can no longer abide her parents making decisions for her (even telling her what her preferred color is), Miloni agrees.

Dadi (a scene-stealing Farrukh Jaffar) arrives and starts asking questions about Miloni, whom she knows as Noorie, the name Rafi made up for his "girlfriend." Rafi and Miloni devise their backstory, and Dadi seems satisfied--or is she? Meanwhile, Miloni's parents have other plans for her.

"Photograph" takes the viewer all over Mumbai--from its squalor to its middle-class neighborhoods, which is where Miloni resides. Her family can afford to send her to the United States with a potential bridegroom who has difficulty controlling his weight. Rafi, on the other hand, is struggling to pay off the debts of his late father.

The film could use some judicious editing. A taxi scene with Rafi arguing with the driver seems out of place. And it takes awhile before you can tell that Rafi and Miloni actually have more than just a tentative connection.

"Photograph" has an unexpected ending. Yet it appropriately bookends its opening. Remember this is a motion picture, not just a photograph.

A movie to remember for long time, just like a photograph

[rahulburangi · 9/10 · 3 June 2019]

This is one of the few movies which will be with me for a loooong time. This movie leaves you speechless when it comes to all the sections of it whether it is story arc, acting by the person who has least amount of screen time, background music, use of Mumbai locations which are unseen by many non Mumbai people and use of silence when required. Many people will complain about the pace of the movie, it is may be because they are so much habituated to movies of so called super stars, so called imported actresses who can't even speak hindi, item numbers, stupid & unnecessary songs, exotic locations, that they can't find beauty in simplicity of this movie. If you talk about the pace of the film my defence would be it is just like old & matured wine which do not give you kick in first sip but you have to feel it, give it time to grab you very slooowly. If you respect it then it will give you magical moments which will be with you for very long time. The best part of the movie is its simplicity in terms of storyline & acting. Characters of Nawazuddin Siddiqui and Sanya Malhotra are written/played so well, so imagine them to be someone next door to you. Ritesh Batra is once again able to do a good movie just like The Lunchbox. Hat's off to you guys.

Missed chance

[Cinephilia1508 · 6/10 · 13 May 2019]

I would say the intention of director was good to make a movie as good as THE LUNCHBOX but director missed this time. It's still watchable but you will feel something is missing all the time. Some scenes are really too much like everyone is asking why dadi has stopped taking medicine and some more. Just watch it and don't expect much.

Open ended story..writer couldn't come up with an ending

[user51555 · 3/10 · 27 September 2019]

One of those stories where writer could not make up his mind how to write the ending, so just leaves it open ended. Up to audience to decide whatever they want. There's not much to story anyways, if writer ended it by leads going separate ways, it would be just another sad ending, and if he wrote it so they get together, then yet another love story. So, he left it open ended, hoping people will praise the acting n forget the story. Besides very unrealistic that a girl with bright future, smart, would go that route and be interested in someone so old with hardly any prospects.

An artistic journey to an unexpected romance..

[abhishekpandey1102 · 9/10 · 21 March 2019]

Ritesh Batra('Lunchbox') has done it again. This movie is about the budding romantic relationship between characters of two completely different backgrounds and the director is successful in capturing the nervousness, the newness and the hesitance of a growing relationship. The film has little dialogue, similar to real life situations like these, and focuses on capturing gestures. Nawazuddin has encapsulated the essence of a common man in a plain, subtle way like he always wanted to on-screen, and Sanya, is absolutely amazing in her calm, composed and measured performance of Miloni. Farrukh Jaffer as Dadi really binds the whole movie, and gives us the light-hearted laughs that any romantic story should have. Not to give anything away, a lot of moments are open to interpretation, including the ending which gives a feeling that you are listening to a love story, and you will be able to relate with most of these moments. It captures the essence of Mumbai, which is always refreshing, and reflects on the cringe of class and color which is kind of inherent in our society. Go watch it, probably with your mom, she'll love it.

Batra lands right again.

[chhablaniharshit · 7/10 · 14 May 2019]

After being impressed by Ritesh Batra's Lunchbox and his style of cinema, I knew that this man is going to have something unique in his every movie. The movie stars Nawazuddin Siddiqui, Sanya Malhotra and Farrukh Jaffar in major roles. I don't think that the casting could have been better. One thing about the cast though -I personally found Jim Sarbh's role a little insignificant for an acclaimed actor like him. Regarding characters, Nawaz was not disappointing with his acting and did what he always does, an above average justice to his character. I consider Miloni's (Sanya Malhotra) character to be the best written amongst all and also well executed by her. The one actor who took her character on another level only with her acting was Farrukh Jaffar. It was a treat to watch her. Until her, I could never believe someone acting beside Nawaz subjugating him. If there has to be a single reason to watch this movie, it is her acting and her comic timing and dialogue delivery. The story doesn't droop on a classic romance, instead shows a story between a struggling road-side photographer and a CA student from an upper-middle class Gujarati family, two completely different worlds. The story shows how sometimes people can want only so much from life and yet that can be completely different for different people. Ritesh Batra is known for developing characters that are relatable to a mass somehow, and this time too, he created such character, Miloni. She is a soft-spoken, a yes-girl who has no opinions of her own, who is pulled from her dream of becoming an actor and peer pressured into doing CA. A lot out there, right? I also liked how smartly Batra ended the movie. Ben Kutchins did a great job with his cinematography showing beautifully the slums and the fast-running city together. Some stills from the movie were really outstanding. In all, this movie is not a Masala Romantic, but is appealing in its own way. There can be only two reasons to not have liked this movie. One, somehow the detailings to the characters were incomplete and second, the movie was bit slow at a few places. Had it not been compensated by exquisite acting, the movie wouldn't have turned out to be the way it did. Otherwise, I would recommend this movie to every cinema lover who understands Batra's poetic and eccentric film-making skill.

Little India Directory Review: Photograph (5 Stars)

[nairtejas · 5/10 · 16 March 2019]

There are scenes in Ritesh Batra's Photograph that will make you lean away from you seat closer to the screen and anticipate something unconventional to happen. It is how the entire narrative is set up in this dull romantic drama that ends up making you dissatisfied.

Sanya Malhotra plays Miloni, an aspiring chartered accountant and a national rank hopeful who has been brought up with stricter customs than a soldier by her controlling parents. This is evident from the start to the point where the brilliant Sachin Khedekar (her father) also objects to her having street food because it caused her some gas problem during exam time. Watching Malhotra act as a taciturn young student brought back memories of my own time in college, which was only fueled by sequences involving the interactions with her coaching class teacher. There'a a sense of generality in Batra's Miloni character that every student in Mumbai and elsewhere would relate happily with. But what they won't with is how she visits the Gateway of India once, meets a Polaroid photographer Rafi (Nawazuddin Siddiqui), and starts an unusual connection with him. The foundation of this connection is cinematically flawed, played with some sly camera work that is apparent in plenty of sequences further in the film. Photograph emphasizes on this unusual relationship between Miloni and Rafi and drags itself like a writer would if he was running out of plot points.

Batra gets a lot of things right in Photograph, starting with Siddiqui's typecast character of a migrant from Uttar Pradesh who is barely able to make ends meet while sending most of his hard-earned money back home to pay off his late father's debts. The two central characters are a great study of a part of the Mumbai life, with the film sharing glimpses into the day-to-day activities of two such people from different walks of life. The third most substantial character - Rafi's grandmother (Lubna Salim) - adds flavor and humor to the experience but ends up annoying a bit which Rafi does not care or worry about. And neither should you. It is this nonchalant performance that makes Siddiqui the most memorable in the film. But only if you ignore all the things that Batra gets wrong.

Using the successful approach that he used in five years ago to international glory, his story feels forceful at times, aggravated by the awful editing work. I'm still wondering how Photograph even made it to the global festivals with that abrupt style of editing where I felt scenes were cut and joined using mid-20th-century technology. The production value is low but it still describes the Mumbai life in a good manner that you would be happy to ignore when you have bigger problems to worry about. The pacing, the dialogues, the screenplay - all give you an impression that this was made in haste. Apart from the inconsequential yet welcome element of magical realism, there is nothing much that makes Photograph a lovable experience. And add to that the abrupt climax suggested with a mockery of a non-linear screenplay tactic, I'm sure you will end up more dissatisfied than I was.

There is not much else to talk about the cast performance either because while Malhotra seems to be totally in her mostly silent character, it is Siddiqui who uses his mostly silent character to be loud enough. She is good with expressions but she repeats them a thousand times when her MIloni meets Rafi, often traveling in a taxi-cab, going to places where she shouldn't be, and talking to people her parents would mind her talking to. She tries to diligently follow Batra's cues but I am not impressed as much as I am with the actors that play Rafi's happy-go-lucky friends-cum-roommates. Geetanjali Kulkarni is another cast member who acted like she was living the character of Miloni's household maid, which gives Batra another minor subplot to infuse the 'feel good' elements into his otherwise dreary feature.

Photograph is a film that almost feels like (a follow-up to) Batra's critically acclaimed The Lunchbox (2013). Two strangers meeting unconventionally in a fast city trying to criticize the fastness of the same city. The comparison may not be fair because no two films are same. But then again Batra's latest feature attempts to break that notion. TN.

Originally appeared in the Little India Directory (Singapore).

Watch, Watch

[palainausa · 7/10 · 27 August 2019]

This is a "sweet" film well worth your time, but I couldn't get the age difference between the two main characters out of my head. And as sweet as it was, what would be the chance of any sort of long term relationship be between those two? I mean, realistically, back to the village? And how does he get to take so much time off from work, at 30 rupees per picture? Oh yeah, and when I was there in January 2019 MY photos cost 100 rupees each. Thank goodness I'm not a woman, lest I have to pay the combined white and pink taxes. OK, it's not about me, nice film. The silences were not a distraction, but an enhancement. The supporting cast was quite good too.

worth a watch

[jhashikha-82320 · 6/10 · 13 May 2019]

An intriguing movie, that keeps a viewer involved throughout making them guess about what's next. the appreciable part of the movie is the cinematography that has been successful for the execution of the masses of life in Mumbai. The life and expectations from life of a struggling street photographer to , the expectation a middle class female is expected to meet is laudably executed. the pace of the movie might bother the viewers expecting quicker events in the movie. but the charm of the movie is in its pace. the details it emphasizes on would make a viewer feel as if they are actually observing a real daily life conversation. the acting of both the leading actor is absolutely convincing but the justice has been done by Farrukh Jaffar as the grandmother of the lead Rafi (Nawazuddin Siddiqui) a lot more have been expected out of the movie after the trailer, let alone one might be convinced despite the expectation. This piece of art is worth a watch.

The "Pure" blankness

[lakharwalakrant · 9/10 · 13 May 2019]

After reading some views were all about the beautiful acting , direction and love. But after watching the movie as the movie ends it leaves me in blankness. My heart becomes blank. Like something is missing. The expection with which I was watching the movie it didn't end up going there. It ended on a note where my heart becomes mad as that blanket of blankness came.

many unresolved queries

[beevenkat · 6/10 · 18 March 2019]

There r many unresolved queries in #Photograph n this, i guess, is the films biggest asset. Why would an intelligent CA student befriend a roadside photographer? Why would she pretend to be his girlfriend? Why would she be introduced to his grandmother? Why would she roam around with him every single day? Why would she watch a film with him in a seedy theater? Why does she look so lost? Very good performances by siddiqui, malhotra n jaffar. Running time should be reduced by 15 minutes. Rating 3/5.

A simple sublime hopeless love story

[Jithindurden · 9/10 · 19 May 2019]

A simple sublime love story of two strangers who are as different from each other as possible and knows that they are never going to be a real couple. The film effortlessly reflects the various limitations of Indian society without calling your attention to it. The characters just acknowledge everything as commonplace occurrence and try to find the best out of it when they see a chance that seemed impossible. The performances and the direction is so beautifully done that you are watching with feeling the hopeless dreams and emotions of the two protagonists and yet you are at peace with it.

Another Side of Bollywood

[hardik-imdb · 7/10 · 9 March 2020]

I love drama films with long silences. And this is one of them. I'm enjoying Nawazuddin's different character. He has also done good job in Motichoor chaknachoor.

Story has flip side that miloni could be in trouble to trusting a stranger at first place in Mumbai. Hopefully it turned out well though. Film makers should show us the conversation where Rafi convince Miloni about the setup.

anyway Thank you team for creating unusual bollywood film.

Actors were like Zombies from the Walking Dead

[qui_j · 3/10 · 22 August 2019]

This is a slow-moving story, punctuated with long periods of silence, and staring into space. The dialog is childish as is the story itself. The two lead actors looked like they were hustled off the set of the Walking Dead and performed in just the same way. Some scenes could easily have been cut as they had no connection to the storyline. It is a very tedious film to get through, with a weak payoff at the end. It would obviously not have global appeal but more suited to a very specific audience.

Photograph IS IT!

[divyammishra-56470 · 10/10 · 22 March 2019]

This movie is the most peaceful I've ever witnessed and I'll ever witness. Must watch!

Brilliance

[naeemze · 7/10 · 9 July 2019]

No matter what people say about this movie but it is worth a watch. The photographer, noori, dadi, everyone performed at a level above the conventional cinema. Even i fall in love with Noori.

This is a masterpiece by Ritesh Batra.

Silences and Empty Gestures Doesn't Make Movies

[i_odin · 4/10 · 15 May 2019]

Photograph is a total repetition of Batra's previous film, "Lunchbox" in terms of theme. 'An inanimate object driving the whole story.' But even though it worked with the previous film, it failed to make an impact in this film. Batra's mantra is "Less is more", which he has clearly tried to convey. But unfortunately sometimes 'Less is not More'. And this film has 'Nothing'.

In terms of plot, even if we ignore for a second the viability of the plot, one might still wonder why the pacing so slow? Can't it be a bit fast? Why waste your time talking with the Taxi-driver, when there are so many ways to move the story forward? I still don't know why someone would even agree to be a temporary girlfriend for a street photographer, after just meeting him once. Just looking at the photograph he clicked! That is too thin for a plot.

The only relief comes from Siddiqui and Malhotra's performance. With their silent glances, they seemed to be equally confused about what is happening around them.

This film is boring.

A glass full of old wine, presented in the most modern fashion possible.

[abasu0819 · 7/10 · 5 July 2019]

Elsewhere in Mumbai is this struggling middle-aged fellow named 'Rafiullah' (played by Nawazuddin Siddiqui) from Uttar Pradesh. Then there's this academically genius girl from a high-class Gujarati background named 'Miloni' (played by Sania Malhotra). But little did they know about where fate will take them someday. Ritesh Batra surely was able to turn the old-school Bollywood formula into one very much practical and heart-touching story, but with a reasonably poor execution & soft dialogue writing. Then again, that too, is a subject of debate just as the character of Sania Malhotra.

The reason for 'Molini,' portrayed adorably by Sania, being so dull throughout was never really explained, in either artistic, metaphorical or practical way. Perhaps, assuming is the best we could afford & in this case, I'd like to assume she was very much tired of carrying the burden of expectations from a background consisting stalwarts of family-tree (of course, here I am judging by their standards of living). On the other hand, 'Rafi,' played by Nawazuddin Siddiqui, was a well-established (as in, cinematic value) down-to-earth character to begin with. His backgrounds were clear, his struggle was understandable, relatable & how he unknowingly ended up weaving a love story with the help of his dadi was a treat to watch & debate about citing the belief of 'fate.' Nawaz, as you'd expect, was brilliant from every aspect. But for side cast, I cannot really come to a conclusion because they hardly ever got time to show their potential, as they weren't really needed as much.

Now, one aspect of the film which really impressed me a lot was its cinematography, accompanied by some melodious background scoring. Tim Gillis & Ben Kutchins were magnificent in capturing the essence of Mumbai as well as the two different worlds of Miloni and Rafi. It was a delight to the eyes & I won't wonder if Tim-Ben end up winning Best Cinematography of 2019 Award of Filmfare!

But apart from everything else and most importantly, does the story even possess a reasonable ending to its glorious concept? The answer is perhaps a little to hard to answer. It's really upon the perspective of a watcher, or rather one observer, for reaching a conclusion & as for me, it all squared up at the end. I was happy and disappointed at the same time acknowledging the fact I've been presented with some old-school gimmicks... But hey, presentation itself possesses a lot of value, right? If not the execution; the redefined concept by Ritesh deserves a lot of applause. And thus, if you ask me if it's worth watching the film - I'd straightaway answer you with one big yes with a little warning of patience-management!

a day in the life...

[jzamel · 7/10 · 6 September 2019]

If you like movies without a conclusion, "Photograph", might be perfect, as it discontinues rather than ends. It has a meandering tempo pared with an interesting theme. The main characters seem to be from different economic, religious and cultural backgrounds, though there is some ambiguity with the economic aspect because while Rafique is selling photographs on the street there is a repeated reference to his father's debts and a lost home. Perhaps indicating, that at one time, he was meant for a different station in life. Rafique, conducts himself with restraint, dignity and purpose that sets him apart from his current peers. While the two main characters, Miloni and Rafique, don't share the same standard of living they recognize a quiet desperation in each other that seems to pique their isolated souls as Miloni agrees to pose as Rafique's finance to assuage his Grandmother. It is important to note that Miloni has been deterred from her dramatic talents into an accounting profession by her parents. A schism that appears to have stranded her from not only her parents, but, most importantly from herself. It explains her compulsion to be photographed as well as her vulnerability to the "Photographer". In the pictures Rafique takes, Miloni, is able to reconnect with the part of herself that has been dismissed. And, as the movie progresses Rafique works diligently to procure a joyful element from Miloni's past. His instincts hone her truth, thus making the impossible, possible, and the film ends pregnant with a spark of hope for his future as much as hers.