Highway: A journey not so smooth

Imtiaz Ali might have attempted something really “different” as it is understood in the Bollywood parlance, but the hatke endeavour gives in as the plot unfurls a romantic journey, much too sanitized, much too idealistic, much too ‘feel good’, as we have witnessed it innumerable times in the past. It’s true that it has not become another Jab We Met for it adopts the road movie genre with a certain degree of seriousness, redirecting the spotlight from intricately decked up interiors, designer clothes and costume jewellery and pricey cars to the geographical diversity of the country, ordinary wearable clothes bought from roadside shops, and a shabby truck. But how different is it anyway? O yes, the ending! But, wasn’t the ending already expected, given that mainstream Bombay Cinema, after the economic liberalization, barely ever had marriages across different classes? 

But, from another perspective, Highway does introduce a scathing critique of bourgeois morality, its aspirations for a ‘good life’, and family values. While all these appear refreshing, a ‘criminal’ truck driver with a golden heart is not a new invention! Rather it’s a reiteration of a stereotype. The film seems to revel in self-glory for having been able to confront the bourgeois audience’s assumption that a truck driver cannot be ‘good’. This is very similar to the notion that a prostitute is bound to be 'immoral', indisputably 'evil'. That’s why Bombay Cinema has time and again indulged in self-eulogy every time they had a ‘good’, ‘loving’, ‘sacrificing’, ‘motherly’ prostitute, as if a prostitute cannot be any of these. In this sense, Highway becomes the victim of the very ideas it sought to disrupt. 

And, the innocent daughter of a stinking rich family, disgusted with wealth and the hypocrisies associated with the demand for social politeness is an even older stereotype! The runaway princess who falls in love with a tramp is so deeply etched in our psyche, that Alia Bhatt’s super candy-floss Veera does not surprise. It’s a different issue altogether that she has given a marvellous performance, unexpected after the rather glitzy breezy role in her debut film. 

The final showdown scene could have been more subtle and nuanced, and Veera need not have explicated the obvious. It’s indeed interesting how Veera returns to the hills, gets involved with an industry, and abandons the comfort of a plush home and a ‘secure’ marriage. But, in no way, does the film leave a lasting impression. 

Barring Randeep Hooda and Alia Bhatt’s dazzling performances, the cinematography deserves two thumbs up. A. R. Rahman’s music adds to the entertainment quotient, which is quite high though. However, this isn’t Imtiaz Ali’s best as was the buzz surrounding the film. Highway is already much too overrated: for stereotypes are intelligently reinforced but the trick is often missed. Perhaps that is the success of Imtiaz Ali that he could convincingly hoodwink his viewers.