these fail to lift a meagre narrative from the ground. Poor characterisation is not helped by mundane dialogue, which has to cross the hurdle of communicating in three languages — English, Spanish and Hindi. Most of the key scenes are played out either in English or Spanish — one wonders how many people across the country would be able to make sense of them from the subtitles.
The music is forgettable, and the background score repetitive. Do pal ki zindagiis passable, but the Kites number is embarrassing, especially as the choreographer too seems confused. The first sequence with Hrithik and Kangana is worth a watch, however the number is stretched too long, like most other scenes in the film.
Hrithik is good as the cash-crazy ‘J’ in the opening scenes with Kangana, but flounders before Barbara Mori. Perhaps because Mori is such a natural actress, everything Hrithik does seems too much like a performance.
It would be good to see Kangana cast as a normal girl — it’s unfair that she is always typecast as a desperate, neurotic character.
Kites ought to have been a masala film with its overthe- top characters and the eye candy — Hrithik, Mori and Kangana lolling around on a boat in skimpy clothes for the audience’s benefit. But it fails to exploit its masala-ness in its effort to be arty.
Too much time is spent on close ups of Hrithik and Barbara — inspite of their beauty, it becomes monotonous to watch the pores on their face, while the tension of the chase is undercut by a narrative that goes back and forth too often. Not enough time is spent developing their love affair, or their characters, or even the maha-villian-ness of Bob and Tony and their manic casino-lord family.
The film gets entangled in its lyricism, which seems pseudo without any meaningful content. Kites doesn’t quite take off, because it’s tied to too short a string.