Suraj
does the same internal monologue that Clint Eastwood's character does in the
movie In The Line Of Fire. He tells himself that he's interested in this
beautiful girl, and he thinks she likes him too. If she turns to look at him
before he leaves, he'll know he's got her. This is drawn out for a bit, as Sapna
half-heartedly dances along with the rest of the girls. She eventually does look
up, but Suraj is no longer in the doorway. We're all dismayed that this was a
missed opportunity, but then we see he's only moved to the other side of the
room, and smiles as he sees her searching for him. They share a Significant
Glance as they realize they're destined for each other, or something.
Back upstairs, Sardar tells the men that he wants their feud to end. He asks
this of them as a gift on this special occasion. He tells Oberoi and Jai to
shake hands to end the war. Oberoi says that just because they might stop
fighting doesn't mean that they must become friends. Sardar astutely points out
that even strangers shake hands when they first meet. This statement causes
someone in the recording booth to stumble against the synthesizers as a very odd
and discordant noise blares out of the speakers at us. Oberoi grudgingly offers
his hand and Jai takes it.
Sardar
is pleased that this has happened. He places his own hands on the shakers and
declares the war is over. He says that as long as he lives, this peace will
reign. Of course that tells everyone in the room and the audience that he's
about to die. As he says this, the men tighten their grip with the sound of
someone stepping on a bag of peanuts.
Back downstairs the dance is ending. Sapna files out of the room with the
other women, trailing her crimson silk sari behind her. It flutters in Suraj's
face, and he tries to grasp it before she can get away. He misses though, but
does catch her sneaking another look at him before she disappears.
We
go back to Sapna's bedroom where she's staring into the mirror again. She begins
to daydream, seeing herself lounging about on her bed while Suraj comes
sauntering down a spiral staircase to see her. She pictures herself playing
hard-to-get, and coyly rebuffing his suave attempts to chat her up. There are a
few clever moments where she realizes that she doesn't know his real name, and
how she sidesteps that in her fantasy. I'll not spoil that for you though.
The scene continues for some time, with the real Sapna offering cues to her
fantasy self as she teases and flirts with the imaginary Suraj. There are a few
cute moments when the fantasy Sapna takes the initiative, causing the real Sapna
to be surprised at her own aggressiveness. All of this eventually leads us to a
musical number, which unfortunately sounds like it was pounded out on a Casio
keyboard that was made in 1983.
The song is called "Badi Mushkil," which was a surprise to me. That's
also the name of an outstanding song from
Lajja,
also starring Manisha Koirala.
