In a rare light-hearted scene in this Milan Luthria film, two ‘lovers’ throw novels and pulp fiction from Hindi literature at each other. In this twisted love story drawn from the Telugu hit, the novel scene almost becomes a metaphor for a hodgepodge of unprocessed thoughts thrown at us.
|Release Date:||25 November 2021|
Luthria and writer Rajat Arora are capable advocates of pulp, as we have seen in films like Once Upon a Time in Mumbai and The Dirty Picture, but here, it seems, their primary job is to raise yet another star son, Ahan Shetty. is to launch. Instead of telling a solid story. When characters are named Daddy and LOL, you realize it early on that the writer-director will keep the characters one-note and not scratch the surface.
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Shetty’s voice is very loud but she doesn’t have the ability to display all the rasa that she has been asked to portray in her first venture. The makers try to cover his boundaries with beard and blood, and build a strong support system around him with credible cast and action choreographers like Kumud Mishra and Saurabh Shukla. The camera focuses on Ahan’s muscular bike and chiseled body, but the groom rarely turns into anything attractive.
Over the years, there have been stories in Hindi films where a foreign babu comes to the city to woo a village girl. Here Arora has retaliated. Ramisa (Tara Sutaria) returns from London and finds local Mussoorie boy Ishana (Ahan) attractive.
As expected, her politician father Damodar (Mishra) finds the match problematic. Ishana is the adopted son of a worker named Daddy (Shukla), who works for Damodar. Sparks fly and punches are thrown but nothing beats the amount of sound and fury.
It seems that Tara has mistakenly mistaken the feature film for a series of ad films and music videos. Despite some soulful Irshad Kamil-Pritam numbers that are reminiscent of their previous hits, the lack between the lead pair ensures that when it comes to twists in the second half, its impact is hollow.
Luthria resorts to atheistic ideas that celebrate the drowning of a lover’s pain in alcohol, but romance rarely turns into an intoxicant. Arora tries to inject some life through proclamations on love and the unpredictable nature of women, but the agony and hurt remain superficial and painstaking. Doused with relentless bombastic dialogue, the yearning leaves the audience groaning.
Mussoorie boy Ishana (Ahan Shetty) falls in love with Ramisa (Tara Sutaria), the London-educated daughter of a local politician. While this may sound like a rich-girl-poor-boy love story, as the film progresses, there is more to it than that.
Launching a newcomer is a tough task for any filmmaker. While trying to present them in the best possible way, it is also important that the actor in question is provided with ample scope to showcase his stuff. The first few seconds in Milan Luthria’s yearning, and no one knows the film’s purpose: to highlight debutant Ahan Shetty’s skills as an angry action hero who is fueled by his passion for his woman, played by Tara Sutaria. Inspired. The film is a remake of the 2018 Telugu film, RX 100, which was based on a real incident.
By the intervening point, Tadap’s story itself looks like a typical love story of a poor boy’s romance with a rich girl who is forcibly married off to another mister of her father’s choice. After the intermission, the story suddenly has a lot to unpack and it rushes to reveal all that led to the lovers’ separation.
Ishaana’s character graph in the film remains constant throughout – she is intense, fiery and deeply emotional. And the same works for Ahaan in his debut film. His effort to incorporate an intense character like Ishana in his very first film is commendable.
While there is scope for fine-tuning his dialogue delivery, Ahaan has an impressive screen presence and shows a spark in his debut film. However, to present him as a true-blue action-romance hero, the film’s writer Rajat Arora (screenplay and dialogues) and director Milan Luthria have focused heavily on padding it with heavy dialogues, which are almost Poetry and stuck in some sort of time warp, and plot points that don’t serve the story effectively.
As Ahaan’s adoptive father, whom the whole refers to as Mussoorie daddy, Saurabh Shukla approaches his task with enough warmth and conviction. He gives importance to this story. Tara Sutaria as Ishana’s girlfriend Ramisa looks gorgeous in every frame – be it playful, romantic or breaking up.
She could have shined more, if the screenplay had made some more provisions for it, apart from a plot twist in the second half. The film falters at the story level, making it seem stretched for its runtime.
If the appearance of Mussoorie boy Ishana (Ahan Shetty) is any indication of who he really is, he appears to be clearly neurotic. Well, that too acts like one. Speaking in monosyllables and working hard to be a hard-boiled hero, Ishana does whatever she wants, even obsessively falling for a girl Ramisa (Sutaria), who is the local MLA Damodar (Kumud). Mishra) daughter.
Needless to add, his infatuation borders on bigotry, even when he finds that the girl returned to London reciprocates his feelings. Soon, he yearns for her and this yearning becomes his passion.
A remake of the Telugu film ‘RX 100’, the film takes the audience back to the 80s, when the twenty-year-old actors had nothing but control over their emotions to such an extent that their obsession turned out to be another important aspect. remained more than a fixation with little regard for. Life. Ishana, affectionately called Daddy (Saurabh Shukla), owns a cinema theater and does odd jobs for her. The local minister who is a good friend of daddy has other big plans for his daughter and is ready to fulfill her dream of marrying the man of her choice.
Then, where is the problem, you would ask. Creating enough room for heartbreak, the script takes us to a revelation: Ramisa was in love with Anurag, a boy she met in London and wants to marry him too. This is followed by a natural progression: surprisingly, Ishana has to face and endure self-pity. It is also an opportunity for the audience to see himself drinking alcohol in a silly way and getting into fights with everyone.
Everyone around her, including lovable daddy and inevitable best friend (Sumit Gulati), only spectators stand by as they watch Ishaana misbehave and even go mad; No one tries to make sense of it. A local cop, who had quite the heat, almost gives up on him.
And so, with a little light at the end of the tunnel, it’s time for our ‘hero’ to look all mistreated, torn and even horribly damaged. And does a better understanding prevail over that? No way, after three long years, he becomes even more determined to get his love back, which he learns is happily married.
By the time of the first half, and even a few minutes after the interval, you’ll have to wonder if you’re actually watching a new movie, so it’s all but predictable what it looks like. Thankfully, though, a much-anticipated twist (sorry… no spoilers, here!) forces you to sit through the rest of the film with some renewed interest. But by then, your patience has been tested beyond your comfort, and you become restless.
Actors who are certainly privileged often face the much-publicized statement that it wasn’t really their fault that they were born to famous parents who have had successful box office performances. The fact is that they are undeniable and benefit immensely from such grand launches.
Shetty who shows no sign of emotion – thankfully not even made up – does everything else to stand out – sing and dance in a tapori style; Takes off his shirt a couple of times to expose his sculpted body; Sees villains and even his girlfriend dangerously, tries to charm the elders with a good act of kindness and believes in action more than lengthy dialogue.
In short, he must impress in some way or the other. And is he? far from it. Even the so-desired, tired script left no room for him to be a ‘hat ke’ from afar! But poor thing! Instead of appearing heroic, he comes across as outrageously unsteady and uncompromising, and is hardly expected to be the abandoned and desolate lover!