For all the rippling abs and tattoos sported by hero Inder (Harshvardhan Rane), there’s something old-fashioned to the way this film plays out (which may perhaps be due to the fact that there have been several films of this title over the years, not that their plots seem to bear much similarity). It’s a romantic melodrama, in which two neighbouring young people from either side of the metaphorical tracks fall for one another. Saraswati (Mawra Hocane) is a frumpy librarian (of course!) from a good family whom nobody wants to marry, and Inder is a sexy ex-con with a very long line in laconic brooding and trouble committing to relationships (although there’s a hint that he may have a backstory of privilege). When they are caught talking in his apartment (she wants a makeover to snag herself a business school graduate), her father dramatically severs all ties and performs funerary rites for his now-dead-to-him daughter.
To be honest, for all its big soap-operatic storylines, the film largely had me in its thrall up until the interval. Hocane is delightful as the dowdy Saru, with big dorky glasses looking for all the world like Anne Hathaway in The Princess Diaries (2001; a masterpiece, of course). This does all mean that inevitably there will be a makeover scene, and there’s a song and dance to go along with it that’s quite fetching. Meanwhile, the film spares no effort in showing quite how ripped and sexy Inder is, as he’s constantly caught topless (certainly, he’s never without at least three buttons undone on his shirt), or doing pull-ups in his apartment, throwing glances Saru’s way and even joining the library so he can bump into her. Naturally Inder has feelings for Saru that go beyond her looks, but he isn’t able to express himself (because backstory… it all comes out later on), and so every time they’re together (which is most of the time), there’s a whole lot of longing looks and sultry gazes off camera, eyes filled with conflicted emotions — you know the drill, really. Their relationship feels even a little transgressive, as they fall in love in spite of their families’ wishes (both have strained relationships with their dads, and that’s a big issue in this film, and one imagines in wider Indian society).
It’s just that the last third wraps things up just a little too neatly. Things take a sudden tearjerking turn as an illness plot is introduced, seemingly to punish Saru for her feelings (or maybe to punish her father). Needless to say, the patriarchal needs of society are healed, and it’s too bad for our lovers. Sure, doomed love is a plot as old as time, but when you care about your characters, sometimes you hope for something more.
Directors/Writers Radhika Rao राधिका राव and Vinay Sapru विनय सप्रू; Cinematographer Chirantan Das चिरंतन दास; Starring Harshvardhan Rane హర్షవర్ధన్ రాణే, Mawra Hocane ماورا حسین; Length 154 minutes.
Seen at Cineworld Wood Green, London, Tuesday 9 February 2016.