Mehbooba, starring Akash Puri and Neha Shetty, hit the screens this Friday. Here is our review of the film directed by Puri Jagannath.
With each other but were separated by circumstances. Before he dies in his previous life, Roshan vows to be reborn for obvious reasons.
As of now, Afreen comes to India to pursue higher studies. She is in danger. He saves her. They are belabor to meet each other again. They do this one day.
But then, Afreen has a fiance problem. He (Vishu Reddy) usually shouts and sometimes abuses her.
The rest of the film is about how Roshan-Aafreen’s love story becomes India’s ‘Izzat Ka Saya’ and Pakistan’s fuss.
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The kind of belief about the heroes of Puri Jagannath is about their mafias, whether it is abolishing a mafia, bringing back black money or doing hi basti meri sial ‘in Pakistan, He is opinionated. There was a time when his hero could say in a song that he could stunt bin Laden too. He was in ‘Pokiri’. Films like Are ism ‘and oba Mehbooba’ are an extension of such a mediocre sentence in a mas-masala song.
The heroes of Puri are known for their impatience and fickleness. It is not in their blood to wait. Therefore, it is pertinent to ask: what happens when such a director writes a story where the boy has to wait to meet his girl from a previous life? The writing becomes so out-of-order that someone tries to get Puri to be almost what he cannot be. The boy picks up a Hindi melody from his previous life. His mother is surprised. ‘When did you learn Hindi?’ She asks him. He looks at her as if she is possessed by a ghost. Forget losing the plot, in creating this tortured-written past life regression-driven love story, Puri tries to embrace the sensations he is unable to survive. He is too young for them.
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The makers proudly state that there is a twist in the story. We almost waited for the turn to arrive until the end, only to realize that it was given a few minutes into the second half. We would not like to reveal a twisted joke, but suffice it to say that it is not only meaningless but also an idea that robs the film of any semblance of emotion. (Hint: what does this have to do with the protagonist’s character)
The 1971 war ends. Until then, our girl and boy are deeply in love. As India and Pakistan decide to pack up, you have to listen to what our lovers tell each other. ‘Mal! The war is over. How magnificent it must have been, so that we could love each other against its backdrop. ‘This is what the heroine says (almost). Being immature is one thing. Being Puri-IST is another thing.
Our boy, in the present day, is ready to win Afreen back. A tweet and the whole of India (except Sushma Swaraj) are with him. If this is not enough, a female soldier threatens to annihilate the whole of Pakistan (if there was very little total war) the hero was to be harmed. This is the world of Puri-isam. Anything is possible. It is possible to tie any.
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At least the climax was lifted so that the irrelevant past life is no longer uprooted, it becomes clear that the heroine somehow died and the hero died anyway. So they were reborn, if we are not mistaken. How he died is not of much interest, as his present-day villains are no more than the worst versions of anti-Telugu cinema, whose sole purpose is to scream, shout, shout.
Puri tries to package his hero cleverly, but to no avail. If you throw useless papers on the corridor, this man can turn on a vandal. He makes the ‘Save the Tiger’ campaign almost trivial. Among the jingoistic Pakistanis, he performs a Sunny Deol, a la ‘traitor’ at the climax. Her heroine weeps and weeps, trapped between almost flamboyant Indian girls and violent hardcore Pakistanis.
Performances go on, Akash Puri makes a good start. Nothing more can be said than this. Neha Shetty needs to find a script that tells her not to cry in the same situation whatever the situation may be. Vishu Reddy plays a written, spiteful character. Murali Sharma is good as the conservative father of the heroine. Sayaji Shinde, Srikanth Iyer and others fit the bill.
Sandeep Chautha’s BGM is fine and his good songs are largely ruined. Vishnu Sharma’s cinematography is impressive. Anil Pastor’s VFX is bad, while Junaid Siddiqui’s editing is efficient. Real Satish’s action choreography and Jani Sheikh’s art direction have a lot of power.
Box office data has been compiled from various sources and by our own research. These data can be approximate and Khabarilonda makes no claims about the authenticity of the data.