![]() ![]() I mean, the crying was so excessive that it made American soap operas seem restrained and naturalistic by comparison. I think the hardest thing to take was the lethargic pace of the film combined with the overlong, overacted scenes of endless sobbing which dominated the film's narrative. In my opinion, however, the songs were the best part of the movie. I enjoyed the songs in a campy sort of way, but my friend Dee thought they were boring. The musical numbers are slow to emerge in this picture, strangely enough, but once they do begin, the dancing and overall stagecraft are questionable the main actor is clearly not a skilled dancer. ![]() The period clothing and details wrap you in a polyester swirl of colors and patterns which become quite garish under the highly colorful lighting schemes which feature, for no discernible reason, a large number of aqua color filters. The first half of the film plays as a rollicking, rather unfunny comedy the second half descends into tear-soaked, sentimental effusions which permeate every encounter, regardless of whether the tears make sense or not. The script presents a series of random events which barely connect and feel tedious, that tell very little about the characters, and that rely upon rather cheap theatrics and excessive emotional outpourings to make you care about characters who are otherwise superficial and one-dimensional. Unfortunately, the film makers clearly have little understanding of how to tell such a story. ![]() The core of this film is a story worth telling. ![]() The young man then experiences a crisis of identity, leading to a search for his biological mother. A young man discovers that his high-caste parents are adoptive, that most of his biological family was massacred during the Partition of India in 1947, and that his biological mother may still be alive and living in Pakistan. Sardaar Mahommad is an overlong, somewhat slapdash biopic set in late-1960's India, based upon a true story. ![]()
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