Mirzya, an epic love story set in Rajasthan plays out in contemporary times – inspired by the folk tale of “the legend of Mirza –Sahiban” that finds resonance in other tales such as Romeo and Juliet, Laila & Majnu. Rakeysh Omprakash Mehra tries his hand at telling the mystical love story of Mirza- Sahiban through the eyes of contemporary lovers. Mirzya doesn’t fall on the line of a typical Bollywood film. It has the song and dance routine, but it’s all done so differently, there is very little dialogue drama and no item song or gimmick to make the film appeal to a large number of audiences. Harshvardhan Kapoor choice to debut with an unconventional film is not bad, and he gets noticed. He underplays it, still leaves his impression in shots where he is alone on the frame. Saiyami Kher looks mysterious as Sahiban, but somehow the other sides of her personality don’t come out. Despite the grandiosity of the project, the director has failed to create a definitive connect with his audience with Mirzya. A loose screenplay and direction make it a tedious watch. Go for Mirzya if you love grand settings but do not expect miracles.

Director Rakeysh Omprakash Mehra creates a surreal world. He experiments with time warp and appears confident about the technique – having used it effectively in Rang De Basanti and Bhaag Milkha Bhaag. And he is willing to add more drama. Like a stage play. Amidst colour blasts and oiled bodies, where super-slow motion shots frequently feature. You don’t mind if Gulzar’s couplets cover almost the entire film. They are beautifully written and fantastically captured by the cinematographer Pawel Dyllus. Harshvardhan Kapoor has decided to debut with an unconventional film, and he gets noticed. He underplays it, still leaves his impression in shots where he is alone on the frame. Saiyami Kher looks mysterious as Sahibaan, but somehow the other sides of her personality don’t come out. This 135-minute Shakespearean drama is visually impressive, but lacks the essence of a heart wrenching love-story. It’s a period drama trying hard to be a musical. And music? Probably the best in last couple of years.

Mirzya is toplined by two Bollywood first-timers, Harshvardhan Kapoor and Saiyami Kher. Moreover, this film is the Rang de Basanti and Bhaag Milkha Bhaag director's first full-on love story.  Unfortunately, all these points of interest do not add up to much in the end because this tale of star-crossed lovers seems doomed from the very outset. Mirzya is a blinding blob of colours - Polish cinematographer Pawel Dyllus is in his elements - and a mish-mash of musical sounds that traverse the entire distance from the deeply melancholic and mournful to the energetically peppy and playful. But these are only minor irritants in a film that does worse - it wafts by like a disjointed blur of light and sound that leaves behind no ripples of either emotions or sensations. For a story of young and defiant love, Mirzya is too passionless to exercise a sustained hold on the audience.  Harshvardhan Kapoor's visage is hidden behind an overgrowth of facial hair, which prevents his expressions from coming through with full force. So an assessment of his emotive skills will have to wait until he reveals more of his countenance on the big screen. The colour of Saiyami Kher's eyes change frequently, but her performance is largely single-note. That is true of the film as a whole. Mirzya is a colourful but tepid tableau populated by pretty but comatose marionettes that even Gulzar's poetry cannot stir to life.

Mirzya has everything that’s required for a musical romance based on a popular Punjabi folktale: a pair of fresh faces (Harshvardhan Kapoor and Saiyami Kher) with great Bollywood genes, a strong supporting cast, and lilting music. Harshvardhan Kapoor and Saiyami Kher's film is a beautiful, lush production but what it lacks is that crucial element between the two which makes romance come alive. Without that crucial element, where lovers create a tight world of their own and no one else is allowed, no romance works. In terms of acting potential, neither newcomer lifts off the screen, but Kapoor fares just a little better than his affectless leading lady: he appears to have a quiet spark which may surface after some more polishing. Mirzya disappoints. Coming from all the talent that’s gathered together for this, that’s even more dispiriting.

Mirzya is inspired by the story of the star-crossed lovers Mirza-Sahiban, a popular folklore from Punjab. In this screen adaptation, the scenario plays out in Rajasthan, shot mesmerizingly by cinematographer, Pawel Dyllus. Though not a musical in the literal sense, the songs take the story forward in ballet style. The visuals of the chorus dancers dressed in bright Rajasthani costumes is breath-taking. The downside, though, is that the passion between the lead players doesn’t really set the screen ablaze. Also, there is absence of real conflict and suspense as the folklore is quite known. Harshvardhan and Saiyami come from good acting stock. But they’re still rough around the edges. Harsh manages to give glimpses of his vulnerability and intensity as a performer. And, also his physical strength (the shirtless scene). While Saiyami, who withholds emotions in a few scenes, sparkles, Anuj makes an impressive debut. If you are drawn to stories that are high on aesthetics with lyrical narratives, Mirzya is a portrait that deserves a long look.