Eyes are vulnerable — those tenuous instruments, as blind Borges called them — and film is vulnerable. And it is the confrontation of two such vulnerabilities which makes the cinema such a poignant medium. — Bresson (‘Notes sur leCinematographe’).
Looking at Deepti Naval’s plain yet attractive face in Saath Saath. I thought there was after all a girl on the silver screen you could identify with – a pleasant identification, for she emerged as a strong-willed person who made her own decisions. Even the love-story wasn’t far-fetched. It could have happened to you, or to any other woman.
Saath Saath is not a very arty movie. It’s a soft, realistic, semi-serious film. But it’s one of those few ‘new wave’ Indian movies which make me wish we could have the same kind of parallel cinema in Pakistan.