Three Times, that Tai
wanese romance
Kunal Kohli’s Teri Meri Kahaani is speculated to be a remake of, could be compared to three pages of beautiful handmade paper with pressed flowers and subdued fragrance but no writing on them.
In any case, premise has never been Kohli’s forte; none of his creations are emblems of originality. Be it Mujhse Dosti Karoge (The Truth About Cats and Dogs), Hum Tum (When Harry Met Sally), Fanaa(Eye of the Needle) or Thoda Pyaar Thoda Magic (Mary Poppins, Nanny McPhee), they’ve all plucked leaves (or leaflets) out of someone else’s book, not so much as a reference than as reproduction. Yet, he’s always managed to pick out an enterprising cast and gloss up a dumbed-down screenplay to dole out a watchable rom-com. Teri Meri Kahaani, with its breezy running time (122 minutes) and frothy leads, continues the tradition in a much better manner than anticipated. Although it begins with a Khushi (that Fardeen Khan-Kareena Kapoor date flick where she dumps him coz he’s ogling at her navel in pre-Rowdy Rathore days with no Akshay Kumar to blame) reminiscent intro — two babies, religiously wrapped in distinguishing blue and pink sheets, make eye contact only to go their separate ways.
Cut to Shahid Kapoor sprinting like a mad cow to scramble inside a 1960s style first-class compartment of a steam engine train, bumping into the coquettish Priyanka Chopra and, bingo! Seasoned with oodles of charm, it has some endearing Shammi Kapoor-Asha Parekh inspired banter amplified by that vigorous, concrete chemistry (of Kaminey fame) between Shahid and Priyanka. It’s not a histrionics-oriented part but the two infuse it with expected charisma and unexpected restraint.
Priyanka plays a 22-year-old unmarried girl, uncharacteristically liberated for 1910 if it wasn’t for her constant giggling and blushing under the duppatta. Shahid’s a loutish casanova sporting Shoaib Akhtar’s hairstyle and spewing terrible shayari on his ready-for-consummation airhead ladyloves. Opposites attract in the time of revolution, which resembles a school-play musical what with the dim-witted angrez, an enduring Bollywood caricature and a large-scale jig inside a baloney prison. Too many songs, loud sentimentality and contrived writing relegate this one to a strictly corny status even as the two actors struggle in identifying or emulating the grace or gregariousness of a long-gone period.
Kohli dilutes the chance of a wholesome, affable entertainer down by his predilection for risk-free conclusions. (Agencies)