Lakshya

Lakshya in one line is the bright future of Hindi Cinema. Lakshya (Aim) is Javed Akhtar's story/screenplay after a wide gap of fourteen years and Farhan Akhtar's second directorial venture after the immensely enjoyable (and successful) Dil Chahta Hai. Both father and son tread on a path untread before in their respective vast and fledgling careers. While there have been war films made in Hindi cinema in the past, most of them are hampered due a storyline ruptured by the 'required' elements of commercialism and lack of technical expertise which is a must to make any war work look authentic. Lakshya scores heavily in these fronts. Scripts involving real life incidents always have mass appeal and more so with those related to wars. But avoiding being jingoistic and putting war in correct perspective is a mammoth task, especially when the war involves India and Pakistan. Further putting war as the backdrop and developing the protagonists' life sketch along the way is another ardent task. These hindrances do not apply to Javed Akhtar though!

Lakshya is a story of transformation of a happy-go-lucky college brat, Karan Shergil played by Hritik Roshan, into a responsible army officer. How people and incidents in his life direct him towards the formation and completion of his goal forms the crux of the story. A hapless decision-maker, Karan keeps his decisions bouncing and rebounding all the time. Born to an affluent family consisting of his parents and US exported elder brother, the aim in life hasn't dawned yet on Karan. Aspiring journalist girlfriend Romila Dutta a.k.a Romi played by Priety Zinta loves him for his innocence and straightforwardness but always wants her man to stand his own. Daughter of a liberal mother, Romi herself is forthright and knows fairly well what she wants out of her career and life. Like the typical youth of the "chalta hai" generation, Karan explores careers the way a kid would explore icecream flavours. "Main Army mein akela kya karoonga?" (What would I do alone in the Army?) is Karan's retort when the friend who influences his decision to join the Army, backs out in favour of his own plan for a foreign MBA. After his parents challenge his decision to join the Army without their consent, a voice first appears inside Karan which needs hearing and approval. With Romi's support, Karan stays put with his decision and joins the Army. Karan's father is confident that is son would back out. His prophesy becomes a fact. Unable to bear the rigour and discipline of the Army training, Karan Shergil returns. He is still comfortable with his decision and gets further assurance and solace when his father asks him to assist the family business. Romi, on the contrary cannot accept a meek give up from her boyfriend for a task, which he had consciously chosen, and decides to end the relationship. This is when Karan's eyes open up and he comes out of the dreamy moonlight he is basking in. Devastated, he rejoins the army, accepts punishment for his contempt, undergoes training and completes graduation. After deployment in Kargil, Karan meets Romi who is now a successful TV journalist covering the war. But armyman Karan is a loverboy no more. Though he still wants Romi back, he shows the poise and stature to deny Romi the liberty to take him for granted. During the war, Karan becomes a part of two missions that finally recover the annexed Indian army posts from the terrorists and Pakistani soldiers. He has found his Lakshya in winning the conquest, Karan tells Romila.

This tale of change, technically, is an effective screenplay depicting the change in Karan and war 'ethics' added with brilliant war choreography form the able supports of the film. Sequences between Karan and Romi as well as their friends and parents have been uniquely etched and directed. Lillette Dubey as Romi's mother looks effective. Boman Irani's displays an initial strict and serious and a final 'proud-to-be-a-father-of-an-armyman' demeanor with aplomb. The casting of Karan's friends is as realistic as it can get at any given college canteen in Delhi. The army ensemble led by Amitabh Bachchan along with Sushant Singh, Om Puri and others depict the Army officer personalities well. Other departments that need a mention include cinematography by Christopher Popp, lyrics (again) by Javed Akthar and music by Shankar-Ehsaan-Loy. The locales in Ladakh are a natural treat and so is their version on film. Christoper Popp goes great lenghts in making the war scenes look genuine. Effective pyrotechnics makes the shelling/firing seem real. The sets created to simulate the final rock climb are as authentic as they can get. Lakshya scores heavily on the technical front than any contemporary Hindi film. The songs are as unique as they were in DCH. SEL show their trademark melody iced with lemony music mixing. "Main Aisa Kyon Hoon" is rewarded with choreography by Prabhu Deva that is ably performed by Hrithik Roshan. What better dancer would respond to Prabhu Deva but Hritik? "Kandhon Se Milte Hai" is a markedly different war song and encompasses a host of male singers only to raise the song quality. Conversational songs breathe a new life with Javed Akhtar's pen! "Agar Main Kahoon.." is in the same mould and as good as "Jaane Kyon.." from DCH. The background score is also inspiring with use of modern instrumentation, especially electric guitars. Sync-sound, a recent boon to movie sound is effectively felt in some scenes especially the one with the Army officer confronting Zinta regarding the "necessity of war". Hritik Roshan plays the confused young man as well as the hardened armyman sincerely. Priety Zinta's character inspired from the real life journalist Barkha Dutt is also developed and performed well. The successful rapport between Priety Zinta and Farhan Akthar continues in their second film as well. As with DCH, both Roshan and Zinta get two different hairdos in the film, a soon becoming must for Farhan Akthar movies. Direction wise, Farhan Akhtar handles a totally different and challenging script than his previous film ably. His unique style of direction seems to be evolving with each passing film. One can only expect better and more technically advanced films from this able filmmaker in the future. Javed Akhtar stamps his authority all over the film. Witty dialogues and a fitting screenplay are his trump cards.

In all, Lakshya is a treat for those who like 'different' films. Contemporary minus cliches, the movie 'feels' better in and with each scene. Good story, good performances, good music, good cinematography, good choreography and good direction all are all motivations to not miss this one! Modifying one of its title song lines would sum it up, "Lakshya to.. kisi haal mein 'dekhna' hai" (You have to see Lakshya at any cost!)