If you go in with huge expectations, chances are that you will be disappointed. The dialogues are fresh and courtesy this film new lingo like ‘mango people’ and trends like break up parties will surely seep into the urban our daily conversation. It is just about an above average film and if some of the plot could have been tweaked, as the protagonists said we could have really got a “naya angle”.
So ingrained and overused are the scenes at the airport and railway stations in Hindi cinema that it is difficult for anybody to watch these scenes without a sense of déjà vu and that induces a been there seen that feeling. And forth the nth time, why do we always need a cool avuncular uncle to guide the hero in love?
The idea of flashbacks is not a new one but here it is treated differently wherein lies the novelty factor, but even though just 125 min long, the narration lacks the pace. The start of the movie is slightly non linear but 10 minutes into the film it settles down quite well into its two tracks, but the shifts between the two love stories don’t blend in as well as they could have. And surprisingly neither do some of the songs which pop up gratuitously and if indeed required it would have been suffice to have played them as background tracks.
If love could be understood by giving a stolen cup of tea and in a blink and glance of an eye, I would love to time travel back to the 60’s.It was simpler then and that austerity and innocence is captured well in the film. It’s the modern version that has a problem even though aided by some smart verbal exchanges; there are some inconsistencies in the characterisation of Meera (Deepika Padukone).
She’s opiniated and driven at the start but looks lost and confused towards the end .Even the decision to get married is a hasty one at that .She has acted better than her previous films but where the films lacks spark is the lack of that simmering intensity that lovers seem to have irrespective of the era they fall in love in.Deepika and Saif make a good looking pair but not a crackling one.
On the other hand Saif plays the dual role of Veer Singh/Jai very nicely, but haven’t we seen him play this uber cool trans continental guy way too often? Nonetheless his portrayal of the Sikh is delightful at some places aided by the some very nice writing. Giselle Monteiro as Harleen is demure and looks ethereal.
Imtiaz Ali is undoubtedly talented and watching his films truly makes one believe that the director is the captain of the ship. He has beautifully used metaphors in the screenplay, case in point, when Jai talks to Meera, who is hanging on to a harness ,about maintaining a long distance relationship. He seems to be knowing what he does and is far better than the mindless drones who rely on starcast and hype to sell the movie and call themselves directors.
Love Aaj Kal has new things to offer,the incompatibility of long distances,the comfort level you have with an ex,both the nonchalance and the calculating nature of the youth today and for that it is a one time watch, but this could have been so better than what it turned out to be.
So ingrained and overused are the scenes at the airport and railway stations in Hindi cinema that it is difficult for anybody to watch these scenes without a sense of déjà vu and that induces a been there seen that feeling. And forth the nth time, why do we always need a cool avuncular uncle to guide the hero in love?
The idea of flashbacks is not a new one but here it is treated differently wherein lies the novelty factor, but even though just 125 min long, the narration lacks the pace. The start of the movie is slightly non linear but 10 minutes into the film it settles down quite well into its two tracks, but the shifts between the two love stories don’t blend in as well as they could have. And surprisingly neither do some of the songs which pop up gratuitously and if indeed required it would have been suffice to have played them as background tracks.
If love could be understood by giving a stolen cup of tea and in a blink and glance of an eye, I would love to time travel back to the 60’s.It was simpler then and that austerity and innocence is captured well in the film. It’s the modern version that has a problem even though aided by some smart verbal exchanges; there are some inconsistencies in the characterisation of Meera (Deepika Padukone).
She’s opiniated and driven at the start but looks lost and confused towards the end .Even the decision to get married is a hasty one at that .She has acted better than her previous films but where the films lacks spark is the lack of that simmering intensity that lovers seem to have irrespective of the era they fall in love in.Deepika and Saif make a good looking pair but not a crackling one.
On the other hand Saif plays the dual role of Veer Singh/Jai very nicely, but haven’t we seen him play this uber cool trans continental guy way too often? Nonetheless his portrayal of the Sikh is delightful at some places aided by the some very nice writing. Giselle Monteiro as Harleen is demure and looks ethereal.
Imtiaz Ali is undoubtedly talented and watching his films truly makes one believe that the director is the captain of the ship. He has beautifully used metaphors in the screenplay, case in point, when Jai talks to Meera, who is hanging on to a harness ,about maintaining a long distance relationship. He seems to be knowing what he does and is far better than the mindless drones who rely on starcast and hype to sell the movie and call themselves directors.
Love Aaj Kal has new things to offer,the incompatibility of long distances,the comfort level you have with an ex,both the nonchalance and the calculating nature of the youth today and for that it is a one time watch, but this could have been so better than what it turned out to be.
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