Shaad, this time gets to remake his mentor’s, Mani Ratnam, 2015 romantic hit, O Kadhal Kanmani, albeit this time with a different production house, Dharma.
The film’s story doesn’t deviate from its original source, but still manages to make its running time of 137 minutes seem too long. And that’s where the remakers spoilt it.
It is surprising that these ‘big’ production houses claim to have talented production / scripting departments, wonder what happens to them most of the time?
So from the word go, we know that the young couple, Adi (Aditya Roy Kapur) and Taara (Shraddha Kapoor) want to focus on their careers and do not want to get down in a commitment, leave alone not believing in the concept of marriage. They share a naughty chemistry, leading to them living in, in Adi’s PG room, rented in the bungalow of Retd. Judge, Gopichand (Naseeruddin Shah) and his Alzheimer suffering, Carnatic singer/wife, Charu (Leela Samson, reprising her role from the original.)
With a peppy rendition of Rahman’s Humma by Badshaah, equally naughtily choreographed by Vaibhavi Merchat, the rest of the music is top notch Rahman, something we grew up with. But somehow the background score, or the lack of it, really makes the long stretched out scenes really bland.
Even the camera angles at times seem so awkward, one in particular scene being the close ups of Adi in Sabarmati, means what were they dong?
Few continuity errors here and there, like Adi entering Mumbai in a time zone which is supposed to be dark but stepping out in broad daylight at CST, or Shraddha’s missing shirt in the journey to Ahmedabad, do stand out in today’s times.
Aditya is in terrific form, and it is his reactions to Shraddha’s drama, that makes you laugh for the most of the film.
Shraddha on the other hand is made to look picture perfect, as a doll, in most of the film, even while working onsite as an architect, but is the lead in the couple. Somehow, her performance reminds one of her earlier Ek Villain act, which was far superior in context, so then here you feel that she is getting repetitive. The chemistry that they both share is exciting in the first half, but with at times unreal settings, makes it seem forced; which couple gets to cootchie coo in a day local in Mumbai, and they seemed at it. But atleast her performance is far real and her character more relatable in good ol’ Mumbai, not an apologetic attempt to a wanna be in a recent Paris based film of a similar theme by Shaad’s earlier production house.
Leela Samson is simply brilliant with her wacky one liners. Naseeruddin Shah, filling in Prakash Raj’s shoes, shows his brilliance yet again. Pity, that unlike the original where the elder couple’s bond played a far stronger role in portraying the eternal bond of marriage, here they don’t get that scope.
Shot mostly in South Mumbai locales with a lot of transport, which is typical Shaad, the film does have its breezy moments, but lacks soul. Even the title, used frequently in the film, feels forced int today’s whatsapp generation. Somehow, Shaad and Karan could not manage, what Ratnam did, and that I guess, is why the latter is the genius.
The original was sort of Ratnam’s comeback, after back to back disasters, this should be Shaad’s farewell.
Does it have The Y Factor : NO
RATING : 1.5 / 5 (1 is for Rehman).