Sometimes, the intention of the film realizer exceeds by far the real execution of its vision. The magic of the cinema infiltrates adventurous film of Ashok Kaul honourably as sprinkles stardust.

And for sure, the parts of “Bhaggmati”, particularly the animation divides to make the chronicle of prince Mohamed Qutub Shah of Romance Hyderabadi with the man of the Hindu people Bhaggmati, is made with a glorious grace and an elegance folding up the rates/rhythms of a real novel.

Kaul employs the characters of animation to intensify and soften cuttings of the marriage of court and the final tragic finale when, after construction of the town of Hyderabad for his loved wife, the prince observes without resource his beautiful wife die in his arms.

Morals strikes the house: any richness in the world cannot buy the life of that to you which you like.

In the same way, Kaul likes its characters, animation and saw. But it cannot bring to the life the characters not-animation, although many resources entered the effort. The relationship growing between mysterious Shivranjini (taboo) and the stunned applicant (Milind Soman) lack of the dynamism.

Not only not to resemble it two a love-pair the Co-stars suffer from the lines ham-handing-over and the awkward scenes where they are forced to express their love in maintenances which rather seem to be taken of a play of college than of a serious film on the continuity of the cycle of life by generations of the love and connection between two individuals.

Years ago in the film “Milan” in love similar saw them to us of Nutan and Sunil Dutt play surmounting the obstacles of the time zone. To date we did not forget the song “rahenge of pair of gaate of ke of Milan of geet of yeh of of yug-yug of tum of fredonnement”.

The songs that Shivranjini and its paramour sing in “Bhaggmati” are so punts and banal that you wonder so that the type-setters Vishal Bharadwaj and Ravindra Jain of music thought while composing of the songs for a history of traditional love envisaged!

The taboo played the enigmatic diva once too often. While in Meenaxi of Romance M.F Husain it with the stiff foreigner was erotic and intrigante, in “Bhaggmati” its expressions transport the distraction rather than the mystic.

A pity, because the taboo is able to raise films beyond the banal one. Here, it is just not in its element.

Moreover, the character of the historian of pipe-nicotinism (played by Kaul director itself) is so incongruous that it breaks the already perilous rates/rhythms of timeless novel, making the account more static and the staccato passage that the epopee.

There is a lesson for all the directors who face the camera: to thus make with the risk lose the hearth. The potentially fertile fusion of the animation and the peters of phase of characters in a dead-end. You obtain fascinated Kaul besides brings the characters of animation in the same line of the vision as truths characters (which in addition glance far less true than their counterparts from animation!

You curved within the meaning of the director of the adventurism, which teeth it to scramble the borders between the love and the duty, time and timelessness, art and kitsch.

There are the luminous innovating brought back parts. The number of dance of Hema Malini to the marriage of the prince is accompanied by the girls by chorus by animation, and the order of sexual relations after in love ones in in love ones marry transports more sensuousness that all bodies writhing in films of phase of action.

The daring synthesis of the animated drawing and the marks of phase of drama you greet the spirit of cinematographic ingeniousness. But finally you look at a film which bites more than it could chew.