Beginning with ‘a first’ related with the film, LOVE AAJ KAL happens to be the only remake which has its original film’s review too posted at BTC, released just a decade back in 2009. So, it’s the fastest remake by a director of his own film which wasn’t any classic either, largely recalled for its hit music and lead performers.
The headline of the original LOVE AAJ KAL review at BTC said “Starts off maturely, entertains in parts and ends with a routine drama”. But strangely and unfortunately, the remake is not even close to its source material, neither in direction nor in performances, forget about the music that remained the best part, still played in the parties having a great repeat value.
To be fair, the present LOVE AAJ KAL takes its exact format and characters from the 2009 film, running two parallel narratives of the past and the present and then tries to add some fresh expressions, comprising of mostly complex or rather confused and unrelatable emotions. Frankly, it happens to be a love story which fails to establish any kind of instant connect with even the young enthusiastic viewers, as I witnessed four couples walking out of the theatre at different points post intermission who surely had come to have a great time watching an enjoyable love story on the Valentine’s Day.
The romance never appears to be convincing throughout its 140 minutes duration, not only due to the poor writing and execution but also because of quite weird or over the top, exaggerated performances by the lead couple, mainly Sara Ali Khan, who always seems to be struggling and overdoing it in her almost every sequence to the level of becoming annoying. That in fact hurts the film the most, because when a girl fails to spell any kind of magic on screen in a love story, no love or loving connect gets established with the viewers to be brutally honest.
On the other hand, Kartik Aaryan does it better. Though he too takes some time to establish his unstable mannerisms, which in the beginning give you an impression of a disturbed or rather a retarded kind of character. In reality both Sara and Kartik try hard but their efforts are always visible, far away from anything natural and emotionally heartfelt reaching out to the audience.
Thankfully there are two effortless performers in the film by Randeep Hooda and Arushi Sharma who actually seem to be the characters of a story directed by Imtiaz Ali. But sadly, their presence also doesn’t help LOVE AAJ KAL in becoming any kind of satisfying romantic entertainer.
In the newer version of his own film, the writer-director brings in the dilemma over career, love and sex with some worth noticing lines in his second act, but never presents it convincingly with any kind of depth that can force you to think. The references just touch the surface even damaging the film further taking the focus away from the expected love and romance.
Interestingly Imtiaz’s love with Sikh characters continues in his latest film, though not in the limelight as in the original film including the songs. The shocking mess doesn’t get any kind of lift from Pritam’s music too (except one or two tracks), who was the creator behind the hit soundtrack of the 2009 film. Besides, the cinematography, production design and costumes keep focusing on an updated styling with a few shots also reminding you of Imtiaz’s earlier films.
In all, such an impactless film was really not expected from Imtiaz after the debacle of his last biggie. Honestly couldnt find the reason why this quick remake was made in the first place and what the director wished to convey through his so unreal characters? Anyhow, LOVE AAJ KAL is still a much better film than JAB HARRY MET SEJAL in comparison, having a few notable moments pointing towards the natural dilemma felt by every young boy and girl.
But having said that, another harsh fact remains that such unconvincing and over the top acts were never before the feature of any Imtiaz Ali film till date, for which, a director will always be blamed more than the over-performing actors.
Rating : 2 / 5 (Including a big 1 just for its one silent scene that is way beyond or above the entire film.)
