Writer Kanika Dhillon brings out shades of Rumi (Manmarziyaan) into Mandakini but the difference here is the fact that the latter feels like she is vivacious just because she has to be. But the manner in which her character is written could’ve used a fresher perspective. Though she lacks the spontaneity of a seasoned actor, she has an interesting screen presence that accounts for a promising future in the industry. Her presence doesn’t carry the shadow of her star parents or grandparents. Her performance is good enough for a newcomer. Sadly though, the costumes and the sudden bursts of perfectly choreographed dance sequences stand in the way of small-town relatability and realism.Īs the feisty Mandakini, Sara Ali Khan is good. More than anything, Kedarnath tries hard to be a small-town film.
When you merge them, they are bound to bear disastrous consequences. Individually, both these films work well.
This feels like Masaan has merged with Dilwale Dulhania Le Jayenge. Instead of attempting to revive it with a fresh perspective, the makers of Kedarnath bring back the dramatic, old-school and incredibly quintessential narrative style of blockbuster Bollywood cinema in the 1980s. But with a little imagination, this formula could’ve been revived. It is the tried and tested love meets natural disaster formula that has been done to death in World cinema for decades now. The film tries to address too many issues that it ends up with a narrative that feels quite scattered. It is almost an easy way out for the writer and director. But in Kedarnath, the flood is an afterthought. It felt like they could almost be together until the ship sinks. In Titanic, it is incorporated into the story when you least expect it. Take, for instance, the manner in which natural disaster is used. In fact, it is the dissimilarities that trouble you. These similarities never create problems for Kedarnath. Mandakini is as rebellious as Rose and has a suitor that is as annoying. This film too is based on the love story between people from completely different economic backgrounds. Just like Titanic, it relies on water for suspense. Kedarnath reminds you of Titanic in many ways. Whether or not their love trumps all forms the crux of the film. The love Mandakini and Mansoor share are put through the test of nature’s fury as well as the fury of their family. So, when he learns of Mansoor’s love affair with his daughter, all hell breaks loose. Briraaj despises Mansoor’s faith and his principles that stand against expanding commercial tourism in Kedarnath. Slowly but inevitably, she finds herself falling in love with Mansoor (Sushant Singh Rajput), a local Muslim porter whose daily bread is earned by assisting and manually transporting tourists in their pilgrimage to the holy temple of Kedarnath. His feisty and rebellious daughter, Mandakini (Sara Ali Khan) resents the patriarchy he stands for. It’s the team’s disheveled focus that stands in between the vision and its outcome.īriraaj Mishra (Nitish Bharadwaj), the head-priest and tourist lodge owner lives in the picturesque town of Kedarnath with his family. Sadly though, Kedarnath only scratches the surface of the feat it sets out to achieve. Picture this: An inter-faith love story at the forefront of the 2013 Kedarnath floods, sounds historic, doesn’t it.
If such ambitions take the right shape, they could provide the right landscape for a breath-taking mise-en-scene. These ambitions director Abhishek Kapoor sets off with are quite magnificent. It strives to be a sort of nature’s poetry sometimes cruel, sometimes beautiful. Kedarnath tries to combine love and natural disaster. Kedarnath: A Passable Love Story Encounters The Too-Many-Passions Problem Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)
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