Its rare that I find myself agreeing to each and every point of a review by others. The review of Life in a Metro by B Rangan had me nod in agreement for almost everything (excluding perhaps Dharmendra part, which I did not think much about).
Excerpts to which I strongly agree:
[…] Go Bollywood!
There’s a lot about Metro that makes you want to get up and cheer. The story is a loose lattice of crisscrossing episodes about finding (and also losing) love – the film really should have been called Love in a Metro.
As with Shivani, there’s a refreshingly physical component to the love stories.
Shikha (Shilpa Shetty; […] this is at least as good a performance, if not better – plus, she looks fantastic)
Kangana Ranaut, once again portraying a damaged-goods soul; she may be hitting the same notes in all her movies, but she does hit those notes extremely well
So you have adultery and betrayal and a lot of admittedly banal (in the sense that there’s not much you can’t predict) relationship drama, and it’s inevitable that Metro ends up resembling nothing more than a rather sophisticated soap – but no soap you’ve seen has had this kind of cast, these kinds of performances.
This is high-end ensemble acting, and I’d hate to single anyone out – but with a gun to my head, I’d probably admit to liking the story arc with Konkona Sen Sharma and Irrfan Khan the most. By now, it goes without saying that these two actors are terrific in whatever they do, but here they play that most heartwarming of rom-com staples: opposites who end up discovering that they may be destined for one another – and they’re just so good together. They’re funny and sad and confused and philosophical and they almost make you wish for an entire movie about their characters alone.
(There’s lot of rain in Metro, an indicator, perhaps, of the bad weather the relationships keep running into.)
Her umbrella is ruined in a gust of wind, and Akash uses a safety pin to fix it temporarily. And that’s the point, really. It – the fix with the safety pin, and the subsequent relationship with Akash – is only a temporary solution. The real issues still need to be tackled head-on. They won’t go away because you put a band-aid on them, and that’s as true of life in a metro as anywhere else.
Some my additional points :
1.The sad ending of Shika’s story is sad. Infact, I was disagreeing when she apologises itself. If in KANK, the adultery is justified by any weird logic, for Shilpa’s character it should have been a “right”, not even justification ! It was so easy to change the end, just make Kaykay enter the house after she has left (along with the child), because his return is the only “event” shown as a reason for her to stay back – apart from perhaps the child hugging her father – and not any other moral reasoning, which is why I feel that event could have been avoided. Even logistically, that climax would have made 2 people happy vs 1. But it looks like “compromise” is the theme – even Konkana’s character, Sharman Joshi’s character compromise.
2.The songs were finely blended in the movie and the lyrics too complimented so well that, dialogues and lyrics felt like extensions of each other. And with musicians appearing in the same frame as actors and through out the movie, songs were never this well a part of the movie !
3.Sharman Joshi looked/acted quite mature.
4.Dialogues sounded new. I was taken by surprise and clueless when Shiney Ahuja, on asking whether he left her or she left him, quite normally quips “Love left us”.