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Mirzya
Critic reviews and ratings
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If you are drawn to stories that are high on aesthetics with lyrical narratives, Mirzya is a portrait that deserves a long look.
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Watch Mirzya for the visual extravaganza that the film is.
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...is random, abstract and niche – not particularly everyone’s cup of tea. Watch it for Harshvardhan Kapoor and Saiyami Kher – the most unassuming debutants of 2016.
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For a story of young and defiant love, Mirzya is too passionless to exercise a sustained hold on the audience.
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...is visually impressive, but lacks the essence of a heart wrenching love-story.
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You need to deal with its overtly artistic nature with a pinch of salt. But if you have the appetite for a tragic and epic love saga, the luscious visual imagery of Mirzya will give you plenty of food for thought.
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...Rakesh Mehra loses conviction after a couple of reels right from the beginning itself and all the razzmatazz that follows turns out to be all sound no fury.
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...director Rakeysh Omprakash Mehra offers an art hop here, where every frame is singularly fascinating, yet often, devoid of sense.
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...boasts of stunning visuals and good performances by the lead cast. However, it is marred by the treatment which is just not commercial in nature.
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...Mehra’s Mirzya is as picturesque and empty as the desert it’s shot in.
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There were moments when the Critic thought, “Ah, this looks and sounds so good. Maybe soon the life blood will flow?” And she waited, and waited, and waited. But it did not.
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There’s a lot to admire in Rakeysh Omprakash Mehra’s Mirzya, but coherent narrative and compelling characters are not among its strengths.
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Mehra is at odds handling a compelling romance that we know in our head but does not always translate in a similar way on screen.
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Despite the limp leads, the conceit might have passed muster with a linear story set entirely in the present. Mirzya is doomed by its inability to free itself from the weight of the original legend.
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Neither this intense-because-we-say-it-is romance running through the film or the soft-focus-myth is actually interesting, and -- shorn of love, or moments -- Mehra's film begins to grate quite early on.
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This problem plagues this lush, good-looking production right through, and makes it much less of a film than it could have been.
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It's a sad debut film of two young people who just go through the motions because everything is pretending to be art.
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As in each of his films Mehra is not content with the usual, is highly ambitious with his craft but doesn’t quite hit the target here.
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The film not only tests the patience of the audience but also destroys faith in the director’s creativity.
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Beneath all the brooding intensity, contrived conversations in hushed tones, and giant splendour of this picture, there lurks such strange hollowness in this movie that you are unsure whether there was ever a script at all to be executed in the first place.
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Pretends to be intense. Pretends to be romantic. Pretends to be enigmatic. Pretends to be Shakespearean – how can it be without the complexity or the tragedy.
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