The Extraordinary Journey of the Fakir: Everything about this naive fairy tale is ordinary


The Extraordinary Journey of the Fakir could have been truly an extraordinary film if Kenn Scott had treated the other characters similar to Dhanush’s. The commercial success of book-to-screen adaptations is always tricky. In books, it is easy to understand what a character thinks and it is evident how he or she processes the information. Oh, also, on his way, he turns his shirt into a canvas. He finds himself shipped to some other country with migrants. This is where screenwriting comes into the picture. Cut back to young Aja’s life. There is an instant connection and they fall for each other. Aja gets to travel for some more days, thanks to his fair share of misadventures. And the funniest aspect is that this gets released during the Pride Month. He experiences love among other things. She passes away suddenly. But it looked and sounded so. Later, she reveals she wants to visit Paris where his father (a trickster) stayed. It is hard to condense—say 500 pages of a book into 100 pages of a script. I guess when it comes to writing scripts, you feel a lot and think a little. He lives with his single mother and Mohini, a cow. During one such trip, he lands up in the wardrobe of a renowned Hollywood actor Nelly Marnay (Berenice Bejo). He looks at passersby and asks his mother if any of them was his father because she refuses to tell him the truth. It is difficult. He meets Marie (Erin Moriarty) at a furniture store. That way, Kenn Scott doesn’t deliver what was expected of him. Here, you understand that turning an interesting situation into an interesting scene is not simple. One day, he asks his mother, “Are we poor?” She says, “No, we have each other.” Take this beautiful scene for instance, where the mother makes her child understand reality. Advertising

Aja is an adult now. Advertising

The Extraordinary Journey of the Fakir opens with Ajatashatru Lavash Patel aka Aja (Dhanush) narrating a story to a group of juvenile criminals from a Mumbai slum. So, how can someone make a film without losing the essence of the original? All of these things are okay, but somewhere I feel the focus of the story is lost. Aja performs magic on the streets. Aja says, “Sorry, honey. Not otherwise. But you can’t show the process (which happens) on screen. Again, this is a fantastic example of how the whole scene could have been better if they weren’t mere reproductions of the original text. You can’t say “it is a fantasy film” and escape. I am not saying they were. I couldn’t join you for dinner.” Marie replies, “I’m pregnant.” They plan to meet at the Eiffel Tower the next day, but Aja doesn’t turn up. 0
Comment(s) But this film makes you think a lot and feel a little. He travels to Paris with a fake 100 Euro note. Aja takes her ashes to the place. Popular Photos

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The ending of a story is crucial to the success of a film. Especially, when you are compelled to tell something within a specified time frame. We need more screenwriters who look for the film in a book. Aja is a naughty kid. Okay, these guys make an international film, and how does it feel when a supporting artiste is repeatedly cornered for her choice of being a lesbian? I am not saying it is impossible. We are shown how a materialistic Aja goes on a self-discovery path eventually. I am not saying the whole angle of finding-himself-in-a-wardrobe is unconvincing, but ‘why he is placed’ there hasn’t been conveyed properly.