10 Love Aaj Kal

Imtiaz Ali's pedigree comes from two delectable delights of love stories Socha Na Tha and Jab We Met...so it is quite justified that one enters the theater screening his latest, Love Aaj Kal with immensely high expectations and which in most cases is the bane of any movie. But that is the price a filmmaker pays for making a path-breaking movie and am pretty sure Imtiaz is happy to pay it. So are the expectations met with? The answer is Yes...not a resounding, silencing yes but yes nonetheless!!!




LAK like Imtiaz's previous two is a romantic tale albeit with a difference. This tale comes seeped in the backdrop of realism and practicalities, of following logic dictated by the brain in matters of the heart and of having relationships without the unnecessary emotional bogeys attached. But of course as all of us, including the practical "way of life" preaching youth, know that where there's a relationship, can emotions be far behind? The clincher here though is how the movie drills this fact into it's lead character's head...by juxtaposing the modern tale of love with another, much cuter love story of the 60's the director almost seals the deal. I say almost coz the modern love story never quite reaches the crescendo of emotions which would make the audience root for the lovers as they root for the older generation lovers.

Jai [Saif] and Meera [Deepika] play two young Londoners who are game enough for the casual flings and flirts but choose to end the relationship amicably when the need to relocate for career prospects stares them in the face. "Long distance relationships just don't work", they say and go on to celebrate a "break-up" party with friends. Enter Rishi Kapoor who after observing the casualness of their relationship decides to enthrall Saif with his own love story set in Delhi/Calcutta of the 60's which ultimately becomes the harbinger of Saif realizing that he's in the truly madly type of love with Deepika. Of course, before they do end up realizing all of this they end up "breaking up" a couple of more times:P and having relationships with other partners with Deepika even getting married. The two stories take parallel tracks with the movie flipping in between the timelines with sumptuous ease and finally culminating in a happily ever after end for all.


The strong points of the movie are many but let's first talk about the things which do not work. The secret of any endearing love story is to make the audience start rooting and praying for the lovers but that just doesn't happen with Jai and Meera...on the contrary the track never quite reaches the emotional highs or maybe the director wanted it to be a no-frills drama but that is no argument for lack of depth in emotions. Deepika's character is not well developed and she's not yet a powerful enough actress to hide those inconsistencies with just her performance. The sudden end to the love story of Veer and Harleen along with that absolutely mindless scene where Saif is mugged by thugs because he refuses to give them Deepika's picture are other weak points of the movie.

What works beautifully though is the setting up of Veer and Harleen track...there's just the right amount of cuteness along with the passion and emotion which make you fall in love with the two characters. Also, the effective editing which allows the easy flipping between the timelines along with the foot tapping music are other strong points.

But if there's one thing which really makes the movie a great watch, it is the witty one-liners and quirky dialogues...right from the "Mango people" to the "Medical insurance hai na" to the "Main baad mein maafi bhi maang lungi" to the "Main tumse kyun baat karoon" and of course the best one "Hamare zamaane mein yeh kuch bhi chane badaam ke tarah nahin milta tha", it is these brilliant lines spaced out throughout the movie which are the real charmers.

The scene where Harleen surreptitiously brings Veer a cup of black tea and the platform scene where she changes her seat just so that both of them can view each other for just a wee bit longer are absolute heart warmers.
There is this brilliantly conceived song "Main Kya Hoon" where the director shows Saif flipping from exhilaration to normalcy to monotone and finally to depression which deserves special praise.
Another beautiful scene is the one where relieved of all romantic pressures Saif and Deepika tell each other their "not good" points which symbolizes all that's good about LAK.



Coming to the performances, Saif does well in both the parts although Jai is not something which he has not done before. Deepika tries hard and does decently. Rishi Kapoor is a delight but it is the debutante Giselle who with not more than 4 lines and mostly with the help of her eyes conveying much more leaves a mark.

Imtiaz does well as a director and while LAK may not add any new feathers in his cap, it does justify the ones that are already present. He uses a novel way of telling an oft repeated tale and almost succeeds. His first half is as breezy as his earlier films but the second half drags a bit and he looses some control. But once again it's the dialogue writer in him who is the real star.

Rating:- 6.5/10