Teri Meri Kahaani – Movie Review
Posted by FATEMA H.KAGALWALA on June 23, 2012 | No Comments
PRODUCER – Kunal Kohli, Sunil A Lulla, Vicky Bahri
DIRECTOR – Kunal Kohli
WRITER – Kunal Kohli, Robin Bhatt (Screenplay), Kunal Kohli (Dialogues)
CAST – Shahid Kapoor, Priyanka Chopra, Neha Sharma, Prachi Desai, Vrajesh Hirjee,
MUSIC – Sajid-Wajid
Teri Meri Kahaani revolves around a couple who behave like they have been specifically told to like each other the minute they bang into each other and then proceed to promptly fall in love no matter what. This happens three times over, in 1910, 1960 and 2012, in different avatars and settings but with the same story repeating itself. Lovers bang into each other, find the other interesting, stay in touch, find a ‘connect’, fall in love, break off and then they unite forever. Surely, giving away the end is not a spoiler, given how predictable these films are?
Supposedly reproduced from the Korean film ‘Three Times’, Teri Meri Kahaani tries hard to infuse the epic, ever-lasting romance feel to the film. Bollywood seems to have found this re-incarnation business very handy in showing made-for-each-other type of love. It requires little writing skills, superficial characters will do and emotional investment can be done away with completely. After all, the young one have travelled through time to re-unite in love, what bigger statement there could be? Well, very recently Vikram Bhatt used this statement to no-effect and Kunal Kohli does the same.
The lovers meet in three different eras over a span of hundred years and after a point the three stories are inter-cut to drive in the end of each together, probably intended to be a mega-climax. First (in the film) it is as an actress (Rukhsar) and a music director (Govind) in the1960’s Hindi film industry. CG-fied vintage Mumbai with trams and suited reporters make the cosmetic setting that looks staged and almost a spoof. Homages to Raj Kapoor, Shammi Kapoor, Mumtaz and other graceful stars of the time make it just about endearing but not necessarily joyful. Priyanka Chopra and Shahid Kapoor play their roles with surprising restraint and the treatment is visual than aural with less emphasis on dialogue and more on expression. Unfortunately, it makes for a mildly interesting ensemble where we observe the costumes (very tastefully done) and surroundings far more keenly than get absorbed by the persona onscreen.
The second story is set in Stratford-upon-Avon, the birthplace of Shakespeare, seemingly referencing the artist’s intuitive understanding of relationships. College students Radha and Kkrish fall in love and fall out and re-unite in a very uber-technological age. Smart phones, Facebook and Twitter find an over-weening presence, typically Bollywood in its in-your-face usage that begin to seem like actual advertisements for each.
And then they are shown to have met as Aradhna and Javed in 1910. Pre-Independence India is redefined into a la-la land with the cursory ‘devilish’ British and chest-thumping freedom fighters. A home-grown Casanova Javed and a homely Aradhana fall in love, separate and re-unite in Lahore of 1910 where the only thing we take back is the authenticity of Chopra’s dialogue delivery.
Cosmetic and superficial, Teri Meri Kahaani is filled with cliche’s and a misplaced heart that depends on its sets and costumes to tell its story. But we know that’s not what we look for in a love story right?