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User Score
4.5

Mixed or average reviews- based on 4 Ratings

User score distribution:
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  1. Nov 19, 2013
    6
    A bloody, grand, color-splashed spin on William Shakespeare’s Romeo and Juliet features Romeo in the adult film retail business and JulietA bloody, grand, color-splashed spin on William Shakespeare’s Romeo and Juliet features Romeo in the adult film retail business and Juliet prepared to jump him at any available opportunity. As with every film director Sanjay Leela Bhansali directs (with the exception of “Khamoshi The Musical”), a few aspects are mandatory: big sprawling sets, a drastic idiosyncratic color palette, and key players engaged by consistent conflict or commotion which in the case of “Ram-Leela” is both. There’s too much to love here, even if by the end one ends up being irked by a bulk of it. Inspired from William Shakespeare’s Romeo and Juliet, “Ram-Leela” (aka. “Goliyon Ki Rasleela Ram Leela”) opens on a small Gujrati town one would be hard pressed to find on a map or Google Earth. The place is a perpetual, easy going limbo between the old and the new world, where everyone is garbed in traditional clothes, ride Ambassadors and use gaudy, blinking cell phones (thank goodness there’s no product placement in Mr. Bhansali’s films); despite being in what I presume to be our times, there is nary a pant-shirt in sight. The town is divided by five hundred year old rivals: the Rajadis and Saneras two local gangs who rarely do anything nasty (I didn’t see one kidnapping, assassination or any other misdeed from anyone). The reasons behind their grudge is never fleshed out, but whatever it is, I can guess that it will be as single dimensioned and soft-cored as the immediate physical attraction between Ram and Leela. Ram played by Ranveer Singh, the local “Romeo” (the roadside kind, with a tinge of Disney’s Aladdin) with a sweet trimmed physique and a lack of body-hair, is from the Rajadis. The Saneras “Juliet” is Deepika Padukone’s Leela, whose natural beauty scarcely measures up to her primed carnal sense (lips are locked whenever the two hone in on each other). Mr. Bhansali’s film has a disarming flair for theatricality, from the word go: in his town gun stalls are set-up like grocery stands and ammunition is stored in everything from achaar jars, flour drums and front bonnets of rusty cars. There is sumptuousness in Mr. Bhansali’s frames, as he makes “Ram-Leela” a deliberate cross-breed between “Hum Dil De Chukay Sanam” and “Devdas”. If the cinematic maven would have stuck to the former, the film’s attraction wouldn’t only have to rely on superficial physical lure, and later, the tendency to go bloody boom. It would have simply been an instant classic. Full Review »