Reviewing the Reviews: Ferrari Ki Sawaari

18 Jun,2012

Ferrari Ki Sawaari


Directed by-Rajesh Mapuskar


Produced by-Vidhu Vinod Chopra


Written by-Rajesh Mapuskar, Vidhu Vinod Chopra, Neeraj Vora


Starring-Sharman Joshi, Boman Irani, Ritvik Sahore


Sometimes ‘well-meaning’ is not a compliment. When applied to a film that has a lot of good elements, but doesn’t quite make the grade, it sounds like a lot of critics struggling for compliments.


Newbie Rajesh Mapuskar’s Ferrari Ki Sawaari, settled into the 2.5 to 3 groove, with only the usual suspects, Times of India and, going higher.


It’s the kind of film that might get awards for wholesomeness, but doesn’t come anywhere close to the Hrishikesh Mukherjee kind of cinema it aspires to. (And just by the way, how does a middle-class, scooter-riding Parsi and a tapori manage to drive a Ferrari?)


Rajeev Masand of IBN gives it 2.5 and writes: “Starting off nicely as a portrait of a middle-class Parsi home, Ferrari Ki Sawaari coasts along comfortably, delivering clean laughs punctuated by occasional moist-eye moments. But from the moment Rusy makes off with the master blaster’s hot-wheels, the film seems to abandon all sense of logic, and subsequently sinks into a sludge of melodrama.”


Shubhra Gupta if the Indian Express is usually fair and not swayed by Bollywood hype. She gives it 2.5 too. “The title says it all. This is a film about a Ferrari and a boy who takes a very special ‘sawaari’ in it. The boy is cricket-mad. The super-fast, super-luxe car belongs to the one and only Sachin. Can a film which has these ingredients – cricket, cars, and how-dreams-can-turn-into-reality – turn out less than a cracker? ‘Ferrari Ki Sawaari’ is well intentioned, well produced and well acted, but doesn’t really vroom off the screen.”


Preeti Arora of, 2.5 again: “So much love flows around but nothing is really happening on screen. Sit back and admire the father-son duo, the narrative will move ahead at its own pace. It’s the predictability which pulls the story down. Like one knows even as Kayo’s father searches desperately for a new bat, he will reach the cricket field in time to hand it over to his son. Or when we see him enviously eyeing a new pair of shoes, Kayo’s shoes will come undone on the field, causing him to stumble mid-run. Ho-hum.”


Saibal Chatterjee of NDTV, 2.5 too: “This competently crafted and well-intentioned cricket-themed film steers clear of many of commercial Hindi cinema’s narrative conventions – it sure gets full marks on that count – but succumbs to some of its most retreaded clichés. You might root for the young underdog and his honest-to-a-fault family as they chase an impossible goal, but Ferrari Ki Sawaari isn’t another Iqbal. It won’t have you springing off your seat. The protagonist’s battle against the odds lacks the dramatic horse power that could have sent the film zipping down the fast lane. The characters are lovable enough, but their little joys and setbacks, and the emotional ebbs and tides, dangle somewhere between reality and make-believe. Ferrari Ki Sawaari is a bit like a warm bear hug that eventually leaves you cold.”


Now come the 3s.  Vinayak Chakravorty of India Today comments: “We have here a Rajkumar Hirani film that the director didn’t make. Every twist about Ferrari Ki Sawaari bears the Hirani trademark and logically so. The filmmaker co-wrote this script and also penned its dialogues that bring back the good-natured humour of the two Munnabhai flicks and 3 Idiots. Ferrari Ki Sawaari takes us back to Planet Hirani, where even evil is basically nice. It’s a world where the hero doggedly defines innocence and does a wrong turn only by chance. The baddies can’t quite mess with goodness no matter what they do, and a tearduct-friendly finale will see a large group of people coming together to root for the hero (recall the college Q&A session in Munnabhai MBBS or the FM radio/shaadi climax of Lage Raho Munnabhai). Debutant director Rajesh Mapuskar doesn’t break the formula. Being Hirani’s associate director on 3 Idiots and Lage Raho… obviously rubbed off on his cinematic sense.”


Karan Anshuman of Mumbai Mirror gives it a generous 3 stars and writes: “In the end, Ferrari ki Sawaari tries too hard. With its manipulative music, serendipity-dependent writing, over the top characters and its length, it does get a little tedious. I love cricket, the underdog story, and well, who can resist a head turn at a Ferrari? It still didn’t work for me. But that’s not to say it may not for you.”


Aniruddha Guha of DNA, 3 stars, comments: “Where the film flounders is the hyperbole. Time and again, we’ve compared Hirani’s films to Hrishikesh Mukherjee’s, and while the legendary filmmaker’s characters were as good-natured and lovable as Hirani’s, they were also very real. Hirani, and now Mapuskar, tend to show their characters to be a lot more extreme – either too good, or too honest, or too naive – and the situations they are put under are sometimes so unreal, you start feeling disconnected.”


The gush and 3.5 stars come from Taran Adarsh: “On the whole, Ferrari ki Sawaari is a noble film, a film that has its heart in the right place. It’s well-intended and sincere and it goes about its business with incredible earnestness. Of course, the film has its share of hiccups, but then all films do, right? But keeping the fault-finding apart, Ferrari ki Sawaari is an accomplished effort. It’s that exceptional film that communicates a point and tells a sensitive story in those 2.10 hours. This heartwarming, tender and sprightly film should not be missed!


And the crowning 4 from TOI’s Madhureeta Mukherjee: “Sometimes, it doesn’t take 11 players to make a dream team. Debutant director, Rajesh Mapuskar has a winning team with just three, plus a red hottie (Ferrari of course, we’re not talking about boombaat Balan). And guess what…we don’t miss the presence of a pretty ‘maiden’ here too. The spirit of the film is in the effusive chemistry between Rusy and his son, which is entertaining and utterly moving. The writing (Mapuskar and Vidhu Vinod Chopra) is refreshing, Raju Hirani gives the dialogues his trademark spin, and the film unfolds with sheer subtlety and simplicity. Except that, the ride could’ve been shorter (jumping a few red signals would’ve helped), and a few speed bumps saved (a song with a flying red car). The climax goes on an emotional overdrive, and at times, with extra spoonfuls of sugar the film is too-good-to-be-true. But that’s feel good cinema for you!”


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