If one considers the sincere presentation, worked upon performances and the important message against the Dowry system in this latest Habib Faisal project, once again coming from the YRF banner, then the intentions are all fine and the film does take you back in that Golden Era when movies used to be made on a social theme with an all Muslim background and characters. But later if you think upon its basic story plot and the unconvincing twist & turns in the script, taking all its major characters for granted going for some silly, unbelievable decisions regarding such a big aspect of one’s life i.e. marriage, then the film simply falls flat and offers nothing which can be treated as a Daawat (treat) or Ishq (love) in this so called DAAWAT-E-ISHQ.
Having said that, after some great graphics in the opening credits, the film does begin with all impressive content in its first 15 minutes depicting the middle class life of a father (a clerk in the court) and her well educated daughter (working as a salesgirl in a shoe store) living in Hyderabad searching for a decent boy for her marriage. But as it progresses further with a sudden twist dealing with Section 498 (A) of the Indian Law safeguarding a woman’s rights in her marriage, it slips down badly with all senseless decisions being taken by every (supposed to be) sensible character in the script falling into the weak trap planned by the duo. As a result, the narration loses the grip post intermission making it a big drag and comes up with all predictable stuff right till the badly handled climax following a typical Hindi film norm of a happy ending.
Certainly not the kind of film expected from the maker of DO DOONI CHAAR and ISHAQZAADE, the one major point which simply ruined it all for me was the sudden transformation of a solid honest character played by Anupam Kher who had not opted for the obvious despite being there in the court in his entire life. Further the way Aditya’s family agrees to every suspicious demand kept in front of them so hurriedly looked more deliberate and even funny, being far away from anything witnessed in our real lives (when it comes to a marriage).
Continuing the recent trend, this is another YRF film with quite a lackluster soundtrack except the catchy title song composed as per the requirement of its basic theme. In the technical department its Cinematography, Editing and Dialogues do try to keep the viewer engrossed in their various individual elements like the outdoor scenes, a fine local set of the eating joint, Hyderabadi accent tried by the actors and the pace giving you less time to think upon the logic. Still nothing works due to the unconvincing plot adapted in a weak script which fails to impress the viewer after its few initial moments in any of the tried genre be it love, con, drama or comedy.
Performances have another shock stored in for the fans as probably this is the first film where Parineeti comes as the last name in the list of good performers led by Aditya Roy Kapur and Anupam Kher. In fact many who considered Aditya as the wrong choice for the role (looking at the promos) would get hugely surprised by the excellent manner he has performed so confidently taking a lead from even a veteran such as Anupam Kher. Aditya shines throughout with his charming persona but sadly enters into the film only after a good 40 minutes as per the need of the script. Anupam Kher once again proves his known versatility playing the Hyderabadi father brilliantly, but after a while goes into a stereotyped shell too because of his badly written character going through a sudden illogical transformation.
On the other hand, Parineeti for the first time looked like pale to me in a film and the major reason for it remains the writing and the feeble plot adapted. For instance she is supposed to be a topper in her studies and yet goes for such a big and silly con-job like an immature girl knowing nothing. Yes, she tries her best adapting the accent, culture and details of a Hyderabadi girl, but doesn’t turn out to be that convincing at all as we have seen in her previous ventures, to be honest. In indicative words, the girl desperately needs to come out of her fixed production houses on an urgent basis. Karan Wahi is ok in a dragging, avoidable portion of the film’s first half and the rest of the cast is also just there as per the fixed requirements.
In all, the only thing favorable in the film is the loving father-daughter relationship between Anupam Kher and Parineeti, plus its attempt to spread some awareness about the ugly dowry culture followed in our country. However other than that, the film neither has any taste of a delicious dish nor any love in its showcased Ishq as promoted in its title.
Above all, I found it really confusing in the end thinking that what was the actual motive of the writer-director for making this film based on such an important issue?
Did he intended to make a film against this evil curse of dowry?
OR
Was he more willing to showcase the girls who take advantage of this particular law and try to extract the maximum out of their husbands playing a wicked game?
Frankly I couldn’t make out what his real intentions were but may be you can. So the choice is all yours and do let me know if you reach any solid logical conclusion, in case you still decide to watch it.
Rating : 2 / 5
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Daawat-e-Ishq Review By Bobby Sing, Dawat-e-Ishq Film Review by Bobby Sing, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
