Ek Ladki Ko Dekha Toh Aisa Laga movie review: Sonam Kapoor-starrer let down by flaccid writing


Ek Ladki Ko Dekha Toh Aisa Laga: Review of the movie  What comes down to this is this: yes, we want to make a progressive movie, but we have to show that our women are liberated only after they get male approval and help.

Ek Ladki Ko Dekha Toh Aisa Laga Cast from the film  Anil Kapoor, Sonam K Ahuja, Rajkummar Rao, Abhishek Duhan, Juhi Chawla, Brijendra Kala, Regina Cassandra, Seema Pahwa, Kanwaljeet
Ek Ladki Ko Dekha Toh Aisa Laga Director of the film : Shelly Chopra
Classification of the film Ek Ladki Ko Dekha Toh Aisa Laga: One and a half stars .This movie could not have had a better title.

It is the “mukhda” of a song that became wildly popular more than 30 years ago when a boy (“ek ladka”) saw a girl (“ek ladki”) and broke into a song. That movie was called 1942: A Love Story, and that ‘ladka’, already grown, plays gray-haired father (Kapoor) in this movie, his real-life daughter (Ahuja), a charming connection that only movies can make what happens.

More importantly, it can not become more deliciously subversive for a movie that promises to change the “ladka-ladki” binary that Bollywood has provided for decades. Here ‘the heart of ek ladki beats for another’ ladki ‘. The problem is that there is more subversion in the title of a line than in the whole movie, because having declared his purpose, he does not know exactly how to approach and expand it, and he spends too much time stuttering to get to the point.

Sweety lives in Moga, Punjab, with a great ‘papaji’ who runs a garment factory, a ‘veerji’ (Duhan) who is a complete ‘puttar’ from Punjabi, a big braggart and a great love, and a grandmother affectionate, which is an attempt to get a suitable child for her granddaughter ‘sundar susheel’. Up shows the sympathetic Sahil Mirza (Rao), but Sweety, immersed in the dreams of his true love, will not bite. And the film is stuck in clumsy and heavy-handed passages, during which we received lectures on the “inadequacy” of Muslims, the greatness of Punjabis of small towns, which also includes their little mentality when it comes to sexual orientation .

When Sweety and Kuhu (Cassandra) meet in the same picture as the two “lovers” who have strong feelings for each other, but who happen to be women, “ki kariye”, almost the whole movie is over. Why so scared? Why not have more between the two young women, what have we expected? Why so much wringing of hands, both talking about “not normal” and wanting to be “like others”? What we get are fleeting scenes in which we receive a pair of looks that are dispensed with the readiness and the film advances in the safe jocular zone of flirtation between Papaji Kapoor and the cheerful Chatroji (Chawla) who is essentially playing the role of the best friend of the hero.

What we also get is a paternalistic speech with the permission of the man of the house: another version of ‘jaa jee le apni zindagi’, except that Simran belonged to 1995. What comes down to this is this: yes, we want to make a progressive film , but we have to show that our women are liberated only after obtaining male approval and help.