It doesn’t happen regularly that you come out of the movie theatre whining about how that particular film could’ve been a paragon of virtue, as it had almost everything going for itself until the writing faltered, majorly in the second half.
Abhishek Kapoor’s Fitoor is actually a master-‘piece’ gone wrong and eventually could only manage the latter part of the adjective as overall it was just his miraculous cinematographer Anay Goswamy, Amit Trivedi’s alluring music and Tabu’s consummate ability to add life and value to whatever she picks up, that makes Fitoor a satisfactory affair even though it left me with a lot of questions and majorly disappointed.
Based on ‘The Great Expectations,’ Kapoor had a really interesting yet intricate plot that could’ve been explored in a way that would’ve made the audience’s heart melt and countered a whole lot of emotions, particularly the climax if he would’ve gone by the original ending.
Even though he hasn’t received a lot of acclaim for his work but yes, Aditya Roy Kapur is definitely an extremely talented and a sincere performer, as he fits himself into Noor’s character wonderfully. The innocence, vulnerability and helplessness of Noor blends perfectly with Kapur’s eyes, though I didn’t quite get the idea of making him build that kind of a body since he was an artist who’d succumbed to a lot of pain, with only one aim in his mind-Firdaus.
Another odd thing that caught my attention was that Noor lost his Kashmiri-Hindi accent after growing up, ahem.
Katrina Kaif was well suited for Firdaus’s part and she played it quite gracefully but she still couldn’t take it to another level. Or maybe because the writing didn’t give her enough material?
Firdaus, based on Esthella was a tease. She was extremely cold, thanks to Miss Havisham’s upbringing but at the same time, she was really confused. She didn’t know her mind, she didn’t know how she felt and there were a lot of layers to this extremely intriguing character but in Fitoor, Firdaus never really seemed to be in love with Noor, instead it seemed as if her attraction was more physical than emotional. And later on, the strong headed Firdaus turns into this cliched Hindi film heroine which isn’t quite believable to be honest because her transformation process was quite vague.
Same goes for Tabu’s character which was inconsistently written as Begum Hazrat even though Havisham was incredibly described by Dickens and had such eccentric traits to her. But well, Tabu being Tabu, even though the makers couldn’t quite figure out Havisham’s heart and eventually gave her an abrupt turn in the end, she definitely discovered her soul and I’m sure Dickens would’ve been elated to see Havisham come alive.
Ajay Devgn makes a special appearance and is in top form till his character too, fades away abruptly in the second half. Aditi Rao Hydari makes her presence felt, as the younger Begum Hazrat and is eminently graceful and beautiful at the same time but getting her voice dubbed by Tabu didn’t seem like a pleasant idea to me, killed the essence to be honest.
All the other characters, including Lara Dutta and Rahul Bhatt had some satisfactory presence in the beginning but later on the film scattered, as if they didn’t know how to deal with the characters and their conflicts anymore and just had to end the film, as abruptly as possible.
It’s not a bad film, but definitely quite incomplete. Could be watched at least once, especially for Tabu and Anay Goswamy’s beauteous frames.