“Great Expectations”—it’s not only the iconic book upon which the new Bollywood film “Fitoor” is based, it’s also the feelings many had for the movie. Unfortunately, the expectations outweigh the final result.
Some of the early criticisms the film has already received are a bit unjust, as many have blamed the performances in “Fitoor” for the bulk of the film’s problems; but director Abhishek Kapoor—who brought us “Kai Po Che” and “Rock On!!” — still has a solid grasp on crafting a gorgeous, stylish and epic display on screen, worthy of the book being adapted. However, the substance of “Fitoor,” which is certainly the most important part of the book-to-film adaptation, falls flat.
“Fitoor,” much like “Great Expectations,” follows the story of Noor (Pip from the novel), a young man from very little means. As a child, Noor falls head over heels in love with Firdaus (aka Estella) while spending time at the old mansion which houses Firdaus’ mother Begum Hazrat (aka Miss Havisham), who is still haunted by events from her own past. Noor’s life is changed in drastic ways by certain major life events, almost all relating to his love for Firdaus. But Begum Hazrat has also been manipulating the young man since childhood and is instrumental in ripping Noor’s love away from him. Without giving too much away of what is certainly the essence of the novel, Begum’s past is directly related to why she uses her own daughter in an attempt to ruin young Noor’s life and love.
While certainly a beautifully shot film, “Fitoor” makes the biggest mistake a book-to-film adaptation can make: It neither elevates the material upon which it is based nor is it able to breathe new life into the novel, despite being the first official Bollywood remake of the masterpiece. Some of the greatest aspects of “Great Expectations” are the highest of highs and lowest of lows that Pip faces in order to win his true love. He begins with very little in his life, and must fight against not only near poverty but also an abusive sister, a traumatic experience as a child, and much more, to become a relatively successful blacksmith. Additionally. the journey of eventually winning his love features so many fascinating mountains and valleys that make the final win all the more satisfying.
“Fitoor” does attempt to make many changes from the novel that can correctly associate it with Bollywood than an official remake. Noor’s profession changes from blacksmith to artist, for example, which allows Noor’s more passionate side to break free—and the reason for constantly visiting Begum Hazrat’s home as a child is also changed. These particular changes actually work in the context of the film—but what’s missing are those mountains and valleys in Noor’s life. Sure, he becomes a successful artist and is able to become a man who is financially worthy of Firdaus, but his success waivers, as do his moments of pain and anguish. Things are just a little too stagnant at times in Noor’s life to really root for him to win his love and fix his life in the end.
To be fair, some of the issues with the film do come from the performances of the main duo. The children
who play Noor and Firdaus bring surprising depth to their characters at the beginning of the film—a feat that, for the most part, Aditya Roy Kapoor is able to maintain with his adult version of Noor. Kapoor, despite being subjected to countless shirtless scenes (which are undoubtedly entertaining), still brings the most important aspect of Noor to life in a big way: his love and passion for Firdaus. But because of problems with the story, Kapoor is unable to truly bring layers to his performance aside from being hopeless, and at times, tortured lover.
Katrina Kaif has certainly improved as an actress in the last few years, and her chemistry with Aditya Roy Kapoor is undeniable. But playing a character like Firdaus requires a complexity the actress was unable to achieve. Yes, she must be cold and distant, but she must also show some hints of love to Noor that allow him to believe his love and his attempt to win Firdaus are not all for nothing. She must be a true daughter to her manipulative mother but she must also be conflicted and in pain over following her mother’s orders versus following her heart. Kaif is not quite at the level to show these depths, and that brings another layer of disappointment to a promising film.
The only one who elevates “Fitoor” above all else is the one and only Tabu. It’s hard to believe that anyone else was originally going to play the role of Begum Hazrat, as Tabu commands the screen and owns the role in her own, creative, unforgettable way. Begum’s image may have received a makeover from the novel—gone is the old wedding dress that dons the dark, deceitful woman. Instead, Begum Hazrat is clothed in only the finest styles, but she is just as decrepit from years of ruining her body and mind as Miss Havisham from the novel.
Tabu is not only able to bring one of Dickens’ most interesting characters to life in an impressive way, she also allows the audience to feel for her. This is most obvious in a climactic scene when Begum reveals her reasoning behind attempting to ruin Noor’s chance at love through a combination of flashbacks to her own tormented past and a downward spiral of her physical and mental health in the present. Truly, enough cannot be said about Tabu as an actress in general, but “Fitoor” once again shows what an incredible a force she truly is.
In the end, what you’re left with after watching “Fitoor” is a feeling of restlessness. The satisfaction of seeing lovers reunite doesn’t work because their story just isn’t fascinating or developed enough. Furthermore, scenes with Noor discovering just how much his life has been shaped by others instead of himself don’t work because that idea is not explored enough.
“Fitoor” could have been one of the best movies of 2016; instead, we’re left with a feeling of longing for what could have been. Because let’s be honest, it could have been something really special.
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