The original script of SIMRAN written by Apurva M Asrani was recently uploaded online at Scribd. And its really painful to reveal that it is a far superior script than the film released in terms of story progression, characterization and emotional depth, focusing on an Indian migrated couple living in America and their young divorcee daughter.
In other words, the original script isn’t really interested in repeating the set image of Kangna Ranaut as a bold, unpredictable, chaotic girl as seen in many of her successful films. The character is more natural, relatable and caring too deeply connected to her mother as well as father, beautifully depicted in their mutual conversations especially towards the end justifying her sudden surrender. But sadly that wasn’t the case in the released film.
Moreover, Apurva in his submitted script gives more emphasis on the supporting characters especially the parents followed by two close friends and a much more impressive ‘could be fiance’. The father isn’t a negative kind of character in the original script, the casino sequences are much more exciting or engrossing, the villains don’t sound cartoonish and the bank robberies happen more because of the need without getting into any forced or fake comic mode. Besides a proper emphasis is there on how the girl studies the earlier loots, selects her target banks and does a recce too before getting into her famous disguise.
But above all the original script is the story of an unsure, vulnerable daughter instead of a bank robber, her so loving bond with her mother and a complex relationship with the father.
In short, Kangna missed a golden opportunity of offering a much better, effective and meaningful film to her die-hard fans and we missed a great movie as neutral audience eager to watch something different.
To be honest, cannot say who actually messed up with the actual script, whether it was the director or his lead actor. But whosoever it was, he or she completely ruined it, completely destroyed its so emotional feel having such a cathartic climax that is capable of bringing tears while even going through it as a script.
It’s really sad that it all had to happen that way crushing a potential winner, but perhaps that’s what we call destiny, constantly teaching us new lessons in life right till the very end.
(The above article also got featured in UC-News mobile app in September 2017)
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And here is a detailed comparison for friends, who are interested in knowing the finer points missing in the released film along with its added merits.
A. SIMRAN as a film remains completely focused on Kangna in almost every scene from start to finish more like a dry solo-act without giving much importance to its supporting cast. However the initial script has most of the sequences as interactions between its various characters giving them respectable mileage bringing in the much required relief factor that remains missing in the film.
B. Where the film is interested in encashing the set & famous image of Kangna Ranaut as an outspoken, unpredictable and messy girl, the script presents her as a natural, vulnerable, family girl who has a deep emotional attachment to her mother but has a complex relationship with her father that gets beautifully depicted in their explosive as well as warm conversation towards the end justifying the sudden surrender to the police.
C. The climax written in the script works really well and would have been perfect if it was accepted and incorporated in the film too. Irnocially the released film's climax doesn't work at all suddenly getting back to some vague and forced black humour.
D. The father isn’t a negative kind of character in the original script as he seems to be in the film. And you have many well writen dialogues conveying the same, not to be found in the film.
E. The script also gives due importance and scenes to two close friends/colleagues of Kangna and the ‘could be fiancé’ too. Due to which they seem to be all well-defined supporting characters and not just fillers as used in the film. Moreover, the dialogue exchange between Kangna and Soham in the submitted script is much more natural and entertaining with the funny use of difficult Hindi words and its meanings explained. Plus the final interaction between them is miles ahead in logic and impact in comparison to what we get to see in the film.
F. The script turns out to be a winner in its casino sequences in particular, as they are far more exciting and engrossing, with the game properly explained to the audience in Hindi (just like it was wisely done in DANGAL by Aamir Khan). So as Kangna repeatedly comes on the table to play, the viewers rightly know how she is winning or losing, deeply getting involved in the game. Plus there is an escape sequence running away from the money lenders too (who don’t sound cartoonish in the script) bringing in more excitement and thrill pulling the viewer in.
G. Though the bank robberies in the script too look quite easy and convenient in narration. But here they occur more because of need without getting into any forced or fake comic mode. Besides a proper emphasis is given on how the girl prepares by studying the earlier loots by watching youtube videos/interviews of robbers and then selects her target banks accordingly, by also performing a recce before barging in wearing the famous disguise. That in turn makes the robberies more satisfactory in execution in comparison to the released film.
H. The cunning relationship of Kangna with her hotel manager comes out to be more clear in the script with an effective culmination too when he is caught spending the looted money, which he had actually stolen from Kangna’s office locker. Plus there are some clear references of 'Racial Discrimination' in the script too, that sadly are not there in the film.
I. There is no love-making scene in the script saying ‘No protection, no sex”. And there is no funny crying scene or dialogue in the casino too (working on the set image of Kangna). So that seems to be added later in the Las Vegas section of the film.
J. The script has a sequence of buying a second hand car, smashing the old one (since it has been recognized by the cops). But that somehow doesn’t fit in as the girl is already short of money and needs more of it. On the other hand, a gas station scene where Kangna falls short of just 10 dollars, clearly explains her desperation of money and the frustration.
K. Giving the deserving due, the film has a more lively character of Kangna in the first half with some fine inclusions as her witty conversation with the bartender and more. But it seriously falters when it comes to her relationship with the parents with many less descriptive scenes displaying the subtle conflict. In the script we get to know her mother much better with their background properly explained and they both have an adorable loving bond that shapes up really well. Plus the way her father gets portrayed in the script is quite different and relatable in an emotional manner, especially post their final interaction in the climax.
In short, where the film tries to present Kangna as (the same old) impulsive, independent girl unsure of herself willing to break-free (reminding you of all her earlier roles), the script presents her as a completely different girl or a caring daughter who unintentionally gets into crime out of need and not out of any habit or just for the sake of fun like a misguided youth.
Reaching the conclusion, I seriously wish many important elements of the original script were incorporated in the film along with maintaining the entertaining feel of its initial hour. But perhaps that was not destined to be and a good script/film had to go through this mess resulting in an average venture.
Hope this instance serves as a fine example for many involved in the creative process of filmmaking and we don’t get a potential script ruined with such clashes leading to another loss both for the makers as well as the eager viewers in the coming future.
Cheers!
Note : At the time of writing this article, the original script titled SIMRAN – THE LIPSTICK BANDIT could be read at SCRIBD official website.
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