Layout and Treatment

The Rivalry between the Muslim and Hindu family

                                                            Frame Number 1                                                                                                                                                                  

 In the town of Almore, the opponents in election will be standing face to face with each other. This will be a close up medium shot. They will have their religious flags behind them that will symbolise the conflict and cold war going on between them. This keyframe will be similar with the conflict that is shown in Fiza, and it will give a slight sense of the cold war that is presented in Veer-Zaara.                                                                                             

Frame Number 2

The heir of the Ibrahim clan accidentally gets shot. A close up shot of Father Ibrahim holding his son’s dying body. Father Ibrahim is crying and mourning over his body, the rest of them stand and watch in despair. This relates with Fiza, as the message from this keyframe and Fiza, is that religious clashes never settle without blood being shed. 

Frame Number 3

There are riots and chaos everywhere in the town. People from both religions are burning each others religious/political symbols. Hitting whoever they find. All on strike and the town is being destroyed. This is comparable with the severe riots and chaos shown in Fiza.

Frame Number 4

 Zee is shown behind a mic in the school lecture theatre. Her hands are up interacting as she gives her speech to the crowd, in her father’s election campaign. She has her fathers name written on a banner, which is around her arms. Zee is in traditional clothes, with a waist-coat on top, along with her hair tied up. She is shown feminine but with traits of masculinity. She will be shown as a very confident and feisty woman. Zee’s character is a fusion of Fiza’s spirited personality, along with Zaara’s bubbly characteristics. As Fiza and Zaara, are cultural and religious, yet modern, I have kept the same for Zee’s appearance as well.

      Frame Number 5

 ASR is introduced talking to a small group of boys and girls and handing out leaflets. The girls are staring at him and smiling, whilst the boys listen to him carefully. This key frame will show the charming side of him and how much he affects people with his confidence and charm. He is wearing a shirt with trousers, along with a band around his wrist that has his fathers name on it, along with the campaigners. ASR’s character is comparable with Veer’s character from Veer-Zaara, as they are both kind hearted, soft and strong headed men. Also, both men do social work.

The Meeting and Confrontation

                                                                                                                                                                                       Frame Number 6                                     

ASR and Zee meet. ASR helping Zee picking up her books from the ground, they’re both smiling and shaking hands. They both have their professional clothes on, similar to the previous frames. This will be taken in a low angle shot, in order to show both of them equal. This frame is similar with the scene when Veer saves Zaara in their first meeting, where the camera shot shows both of them equal.

Frame Number 7

Zee and ASR are sitting and having a conversation. This will capture the intimacy, between the couple. The shot will be a centre shot as both of them will be equal in that shot as well. However ASR will be more on the lighter side and Zee will be on the darker with a bit of a contrast, that will reflect her character and the grey shades her character has.

 Frame Number 8

 Zee is praying with her back to ASR who is admiring her innocence. His feelings for her are visible on his face. This will be contrasting with the main plot of Muslims verses Hindus, as a Hindu man will be watching a Muslim woman praying, with a smile. Zee will be blurred in this shot as the focus is ASR.  This frame is similar with both female protagonists praying in Fiza and Veer-Zaara, reflecting innocence.

Frame Number 9

Birds eye view shot, over the shoulder of ASR while he discovers Zee’s true identity in her notebook, which says “Zaiyna Raza Ibrahim”. The focus will be on her name from his and the audiences’ point of view.

Frame Number 10

 Both confront each other, pointing guns at each other. This creates phallic imagery but with Zee apart of it, therefore she is more manly and masculine in this shot. Zee and ASR are equal. This will be a medium centre shot, where both of them will be in focus equally. This frame is similar with the confrontation scene from Fiza, when Fiza’s brother confronts her as a terrorist.

Revenge and Outburst

Frame Number 11

 ASR can’t kill Zee due to his feelings therefore he gets annoyed and bursts out in anger. The frame and shot will be focused on him. It will be a distant shot of ASR discarding his gun, which means he gets rid of his masculinity and dominance over her. This is similar to Veer’s sacrifice that he makes for Zaara in Veer-Zaara, which shows both ASR and Veer declining their masculinity because of the women they love. This presents the women to be stronger and dominant over them.

Frame Number 12

Then there will be Zee, who will stand there with a smirk on her face. This shot will be a close up capture of her emotions clearly and closely. This will show her dominance as she’s the one with no emotions and then there’s ASR in the previous frame who is having an outburst because he can’t do anything to her.

Frame Number 13 

ASR will be focusing on the newspaper; the angle of this frame might be taken from the centre as a centre shot. In order to have everyone in the frame, so then it is clear. This clearly reflects the reality of the Indian society, where honour and pride means everything, and if anything happens to that then the crowd is expected. This is told in Fiza and Veer-Zaara.

Frame Number 14

Zee is celebrating with due to ASR. Zee holding her father, around the shoulder and cheering, with the flag in her other hand. This frame will be shot to show her and her father equal. This will be a medium close up shot. This contradicts with Zaara and her father’s relationship shown in Veer-Zaara, as their father and daughter relationship is shown to have restrictions, although Zaara’s father claims her to be his son. Zee and her father are more open and friendly with each other, more like father and son than father and daughter.

Frame Number 15

 ASR holding Zee’s wrist and forcefully trying to tie them, however she can’t see who it is as he comes from the back to do so. This will show her aggression as well as his, because both of them will be struggling. However ASR will be shown more dominant in this shot, and the passion of hatred. This will be a medium close up shot.

Kidnapping and Death

    Frame Number 16

Zee is in a dark room on the floor, with a bit of light coming through. ASR untying her hands, he is close to her, this creates a sexual tension as well as intimacy. Because he has true feelings for her but she is cold, she has no feelings for him but still finds the intimacy strange. They will both be positive as the small ray of light will be on both of them. This will be a medium close up shot, focusing on the couple. This is similar to all the scenes from Veer-Zaara, whenever Veer saves Zaara’s life, the couple are shown to have some sort of sexual tension between them, but however theirs is more romanticised than the sexual tension between ASR and Zee.

Frame Number 17

Zee feels guilty, and looking down due to the guilt. This will be a medium close up shot. Zee is genuinely feeling sorry and guilty, the first time she actually feels something good for him apart from hatred. This will be a contrasting with her character, and the conflict that is the cause of the hatred.

    Frame Number 18

Zee pushes ASR out of the way and accidentally gets shot. The couple and the families will be standing opposite each other in this frame. This will create an image that they could have been a couple and the result of religious conflict is that they don’t even realise whose standing in front of the weapon.

Unity of both the communities and families

    Frame Number 19

 Low angle shot where her family will be crying over her dead body. Her head will rest on ASR’s lap and her father will be crying next to her dead body. ASR will have his hand around her shoulder and her father will be holding her hand. This will give the feeling that her father brought her up therefore he’s holding her hand, and ASR is her lover, therefore he is holding her shoulder. Similar to Amaan’s death in Fiza, who has to be killed in order to set everything right and possibly for redemption.

    Frame Number 20

 The unity of both communities will be clear in the shot. It will be capturing everything happening in the frame. Both fathers will be sat together laughing and the Hindus and Muslims will be hugging and celebrating in the background. There will be ASR in the centre with the group smiling.  This will be like a racking focus. This is similar to the unity that is shown at the end of Veer-Zaara, where Veer and Zaara finally unite after 22 years however it’s not just the unity of the couple but of the Muslim and Hindu communities, as well.