It is not often that I watch a Bollywood movie in whole, simply because they are usually so embarrassing to watch even alone! I just watch them for music and for the, so far unmatched, choreography! But this film just captured my imagination and kept me arrested till the end. The only other Hindi films that I can speak of with similar admiration are 'Mumbai Se Aaya Mera Dost' - My Friend from Mumbai, a widely misunderstood and undervalued Indian gem, the Raj Kapoor classic, 'Jis Desh Mein Ganga Behthi Hai' - The Man from the Ganges Confluence - and recent work by maverick and pioneering art house directors of the modern India like Nagesh Kukunoor - 'Iqbal' 2005, Madhur Bhandarkar - 'Page 3' - and Rakesh Omprakash Mehra - 'Rang De Basanti' - The Colour of Sacrifice - 2006.<br /><br />Experimental in almost all departments, but handled by the whole crew and the cast, including the first time director Shaad Ali, with great virtuosity and panache, this is a film that everyone should see, if not for anything but just for the sheer, unforgettable experience of the breathtaking cinematography, the brilliant location selection, masterly costume, art and set design, and above all, the painstakingly executed, digital editing and subtle video effects that puts Hollywood studios to shame. If you are now encouraged to see this movie, watch for the way the camera meaningfully mimics and follows the act as if the viewer is there and sharing the experience of the scene. This filming and editing effect is so subtly handled by both the highly experienced cinematographer and the editor so that the viewer's eyes move with the camera so effortlessly, and after a short while, get accustomed to it. The effect is most prevalent though with songs and choreography, which highlights the composer, A. R. Rahman's quite apparent contribution to the success of this film.<br /><br />The highly acclaimed and surprisingly very young composer A. R. Rahman, easily the Alberto Iglesias of India, has single-handedly pioneered a new kind of world music, mixing the diverse traditional and folk music of India with both western and eastern classical and popular music. The result is a unique and continuously evolving sound that has reverberated around the world to such an extent that it has influenced a wide range of musicians around the world. 'Saathiya' is an excellent example of how his music influences the look, texture and feel of a film, very similar to that of masters like John Williams, Tan Dun and, in particular to the much cherished collaborations between Zbigniew Preisner and the late master Krzysztof Kieslowski. It is hard to get the 9 songs of this film out of your head once you watched the movie, not just because A. R. Rahman is a genius, but because the collaboration between him and the rest of the crew and cast has been just perfect.<br /><br />As an added bonus, the film is much shorter than the usual Bollywood formulaic crap, and, because it has the ability to capture the viewer's attention and hold it to the end, the time just flies while you are having fun. It also is a light-hearted attempt to examine the lives and loves of the youth of the modern and very westernised India, and doesn't bother the viewer too much with too serious and pretentious issues of life and the universe! Watch it and you wouldn't regret it, except for the last scene! Once you have seen 'Saathiya', you should see the original Tamil film , 'AlaiPayuthey' (2000) by writer director Mani Ratnam, a highly creative director to watch for. This is so much admired by Tamil speaking people around the world that it has been posted so many times as low resolution videos on both YouTube and GoogleVideo, so that you can watch it free in full as well as in parts. Despite the origin, the two films are different in atmosphere: Tamil one is quite rural looking while, the Hindi one is quite modern and urban in setting. They are both equally stupendous cinematic creations on their own right despite the differences.<br /><br />BrownPolar Edinburgh April 2008