The director casts two attractive people where he ought have chosen a couple of actual actors instead, and thus it becomes hard to care about the protagonists or their sundered hearts, and despite aesthetic appeal, what we end up with is -- at best -- a screensaver.
Fitoor benefits immensely from its strong literary feel enhanced by solid, assured storytelling. What is most admirable is the manner in which the film sticks to its chosen tenor – marked by controlled and effective drama – right until the very end. The director extracts a dazzling performance from the star of the show – Tabu as Begum Hazrat Jaan. Go for it because there might not be too many better films than Fitoor this year.
FITOOR is a huge letdown despite its great visuals, as it fails to connect emotionally. At the Box-Office, the movie will appeal only to a minuscule set of multiplex audience. FITOOR's director Abhishek Kapoor seems extremely confused in his narrative of FITOOR. While the film does have its moments under the sun, FITOOR turns out to be such a BIG disappointment for all those who really had 'great expectations' (no pun intended) from the film.
Fitoor is one of those films where the milieu plays a major role and since it’s Kashmir, it works wonders. Every frame of the film is captured with a great deal of thought and looks stunning. What pulls the film down is its pace. Not many can endure a love story that stretches for this long.
‘Inspiration’ Charles Dickens is just the first casualty. Fitoor spares no one, not Kashmir, not Delhi, not London, not artists, and not even poor Pakistan, which somehow finds its way into this tale essentially about love traversing social divides.
Melodrama and a superficial love story are some of the road blocks that hinder a beautiful cinematic journey Abhishek Kapoor wanted to take you on. Aditya and Tabu are undoubtedly the best bets in Fitoor. While you are likely to fall in love with Noor (Aditya), pity and hate is what Tabu’s Begum Hazrat evokes.
Fitoor, based on Charles Dickens' Great Expectations, meets some expectations - but not all. The film also looks gorgeous - but opulence takes over substance, chinars, minars and lace dominating grip, passion and pace. For a love story, Fitoor lacks heat. To play with a great quote, oh what a tangled web we weave, when we learn to retrieve - in this case, retrieving a classic indeed caused a tangle, albeit one of Pashmina dhaagas.
Abhishek Kapoor's adaptation of the Dickens classic is laudable in parts. Fitoor, for all its spellbinding beauty, fumbles bad. The story meanders and loses way in between, and there seems a certain urgency in tying all the loose ends. At the end of the day, Fitoor demands a lot of patience on the part of the viewer. But that is largely made up for by Kashmir. Watch the film for its sheer beauty.