- Release date: 15 July 2011 (India)
- Director: Zoya Akhtar
- Featured song: Sooraj Ki Baahon Mein
- Box office: 153 crores INR (India, US$22 million)
- Awards: Filmfare Award for Best Dialogue
Story
Zindagi Na Milegi Dobara opens with a scene in which a youngster is on his knees, proposing to a young lady he has known for close to a half year. The film closes with three mates on the run from the bulls of Pamplona in a certification of opportunity from all stuff, proficient, passionate and social. It can happen just in Spain.
Kabir (Abhay Deol), the youthful child of a development big shot, is locked in to an inside creator, Natasha (Kalki Koechlin). ?I develop structures and you plan insides, we are great,? the scion tells his eventual spouse. The wedding date is expeditiously fixed.
To commend the approaching finish of his lone ranger status, Kabir and his two closest companions, free-vivacious publicizing marketing specialist Imran (Farhan Akhtar) and compulsive worker monetary intermediary Arjun (Hrithik Roshan), leave on an all-inclusive excursion through Spain.
Twist
It ends up being an excursion of a lifetime as the three men defy the past, arrange the present and cut out another future. They are helped along by an exuberant half-Indian, half-British young lady Laila (Katrina Kaif), who they meet on a sea shore in Costa Brava. She ends up being their remote ocean jumping teacher. Laila accepts that a man ought to be in a case just when he is dead.
Zindagi Na Milegi Dobara has a straightforward enough story center that spins around the three male heroes trying to breakfree from the limits of their separate boxes. Their battles yield many beguiling minutes albeit one can’t keep away from the sneaking doubt that this lively tribute to life, love and kinship is as much about recounting to a story as about an offering a nation to imminent travelers.
Songs
In any case, there can be no denying that Spain is a superb nation and, gratitude to Carlos Catalan?s liquid camerawork, it looks completely shocking on screen. The excellence of the land incapacitates you and you can’t however oblige the progression of this fairly strong ride in spite of the incidental knocks in transit.
The screenplay, composed by Reema Kagti and chief Zoya Akhtar, figures out how to remain on course right all the way to the finish albeit story pace isn?t what it takes a stab at. Indeed, even as the three companions enjoy consistent exchange ? clever jokes and poker-confronted nonsensical conclusions are generously hurled around ? what’s more, pull tricks on outsiders and on one another, they have genuine intense subject matters to settle and many instilled fears and questions to survive.
Performances
Arjun has a dread of the profound, Imran freezes at the very idea of bouncing from an airborne chopper and Kabir has no hunger for being gutted by a bull. In any case, they are bound by an understanding fixed between the companions at the very start of the journey of disclosure. So they are constrained to manage their fears and surmount them in demonstrations of inward disobedience that modify their lives until the end of time.
The ?hold onto the day? theory that underlines the film is old as the slopes. However Zoya Akhtar, by contributing the story with a great delicacy of touch and dabs of delicate mind, carries a level of freshness to shoulder upon the plot.
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Conclusion
Zindagi Na Milegi Dobara exudes articulated hints of the soul of Dil Chahta Hai, yet its fundamental mood is its own, originating from the elements of an undeniable street film shot through with insight, feeling and, most importantly, humanism.
The experiences that the three men experience ? remote ocean making a plunge Costa Brava, a tomato battle in Bunol, sky making a plunge Sevilla and, at last, the San Fermin Bull Run in Pamplona ? are impetuses that draw out the best in them. As physical allegories for freedom of the soul, they are consistently coordinated into the storyline generally.
The downplayed, energetic atmosphere of the film permits the entertainers to be their own selves and they all do it easily. The high focuses: the irresistible Senorita number and the single-scene unique appearance by Naseeruddin Shah. As usual, he sets the benchmark.
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