Saraswatichandra - Sanjay Leela Bhansali's foray into Indian Television

So, its another fine weekend and I am stuck - at picking up a subject for my post. While half the blogosphere is picking hot topics like Sanjay Dutt & Indian Legal System, I finally close in on a flicker. Saraswatichandra - a review. The big budget, heavily touted Sanjay Leela Bhansali's revered step onto Indian Soap Opera. To witness the miracle of how this larger-than-life filmmaker fits into our unflattering idiot boxes, most women must have completed their chores beforehand. I too, with a little curiosity, & out of my liking for SLJ's films, took time out. But the opening was a cliched debut filled with cocktailed moments drawn from Devdas and Hum Dil De Chuke Sanam? And that too without Salman Khan, Aishwarya Rai Bachchan, Shahrukh Khan or Ajay Devgn!

               

The sets rolled out like an expensive brocade woven in a plush Kashmiri carpet on which the characters – who shone like they were polished for the longest while – strolled wearing the finest of dresses. The culture and the grandeur was welcome for Indian Television, which had lately consisted of some boring segments.

Monica Bedi, the undisputed vamp, did complete justice to the role. The show wins hands down for perfect casting with the amazing selection of the leads. Not only did Jennifer Winget look dead-drop gorgeous as Kumud but her performance was so composed and well emoted. Gautam Rode was a pleasant surprise by perfecting such a complex role. Gautam sinks deep in to the intense character of Saraswatichandra and pulls off the character, really well. It’s going to be quite intriguing to see the two share screen space in future episodes.
                      

While I was a bit disappointed from the opening episode, the following episodes have been woven nicely. The story runs at a better-than-boring pace. Saraswatichandra has SLB’s style, perfection and persona engraved in it but is a lot less subtle than expected from his work. But it still remains to be seen if the grandeur, the performances and Sanjay Leela Bhansali’s tag help us overlook the polished tried-and-tested formula of a script that’s too old for today.