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All it wants to be is an entertainment â and thatâs fine. But Fanaa isnât particularly interested in sustaining such conceits. I first thought Zooniâs being visually impaired was some sort of metaphor, in that she blindly falls for Rehaanâs rakish charms, and after she undergoes surgery and gains vision, she sees him for what he really is. You keep wanting for them to reach for something more ambitious than just an okay romantic drama, but thatâs all this is. The film plods along trying to hit high notes, but even as you sense the background score rising to crescendos, you donât sense emotions, epiphanies worthy of all that fuss. On one level, itâs about Zooni finding love with Rehaan, and on another level itâs about the soulless Rehaan finding salvation in Zooni (I know this sounds vague, but to explain further would be to give away major plot points) â but neither does the love story soar, nor does the other angle stir. Then again, with Aamir and Kajol, you expect the moon and the stars and come away unsatisfied with this decidedly earthbound movie.įanaaâs problem is that it never really takes off. Oh, with Aamir and Kajol (as the blind Zooni), Fanaa is certainly worth a watch.
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I think Aamirâs now at a point where heâs always going to be terrific, even if his films â like this one â are nowhere near that level. I canât recall when I last saw an actor so drained on screen. And to add to the physical tiredness, thereâs the mental exhaustion of a man pushed to a corner not by the choices he made so much as the choices that have been made for him. Near the end, thereâs a scene where he has to run a long distance in Kashmirâs biting cold after he reaches his destination and after a while, you notice heâs still gasping between sentences. You see that meticulousness, that level of micro-detail, in his performance as tourist guide Rehaan in Fanaa. An offhand postural change became in his hands a subconscious â and, yes, meticulous â performance. But when Aamir had to do so, he first uncrossed his legs, smoothed out the shoulders of his jacket, half-stood and smoothed out the bottom of his jacket, smoothed out the crease on his pants, crossed his legs the other way, and then turned. When Kajol had to turn, she did just that: turn. So if either one had to face the other, they had to turn a bit in that direction. The stars were seated across one another, but at a forty-five-degree angle that also made them face the camera. It was during the promotional interview between him and Kajol that aired on television a day before the release of Fanaa. – WEâVE READ REAMS ABOUT Aamir Khanâs meticulousness, but only recently did I get to observe it firsthand. Aamir Khanâs new movie marks Kajolâs comeback, but thereâs little else that distinguishes it