AASHIQUI 2 (Movie Review)

ONE LINER:

Meri Aashiqui Tum Hi Ho..!!

EXPECTATIONS:

Expectations were not much high till the first trailer came.. But as the trailer came the hype the buzz the expectations became so high. Bhatts returning too romance. T series production. AASHIQUI was a total cult hit brand. So continuing it. Mind blowing music.. Expectation rose day by day...

VIEWS:

1. Firstly the movie is a total surprise package as it is not at all any resemblance with AASHIQUI or ABHIMAAN..

2. MOHIT SURI gives a total change movie here getting away from his route and He delivers..

3. It's all and all romantic movie seen after a long long time. Pure clean sweet cute romance..

4. A total romantic movie which makes u fall in love with it since the very beginning.

5. Music is just mind blowing. A total chart buster.

6. ADITYA ROY KAPUR & SHRADDHA KAPOOR are just wow..

7. Overall it's a lovely romantic movie having its heart in its place and will not much give more details otherwise movie story will be revealed.A different approach to a great extent.

STORY & SCRIPT:

Story is very good. Script is beautiful. Screenplay is good. Dialogues are lovely.

DIRECTION:

MOHIT SURI delivers an all and all romantic movie and his direction is beautiful. His one of the best. After WOH LAMHE & AWARAPAN this His another great work as director.

MUSIC:

Music By ANKIT TIWARI, MITHOON & JEET GANGULY is just the one of the best soundtrack have heard in a long long time.. With TUM HI HO and SUN RAHA HAI NA are just mind blowing and jump up each other whenever u hear another one. CHAHOON MAIN YA NAA and BHULA DENA are too good too.. PIYA AYE NA has a great impact in movie. Remaining beautiful too.. Just awesome Music.

CASTING & ACTING:

ADITYA ROY KAPUR after giving beautiful performances in London DREAMS, GUZAARISH & ACTION REPLAY gets a solo role and he delivers totally. He gets here what He deserved. He is Brilliant.

SHRADDHA KAPOOR is another talent to watch out for. She gets all scenes so beautifully.She is superb. She is Cute. She is sweet.

SHAAD RANDHAWA good..

Remaining actors OK.

PLUSSES & MINUSES:

PLUSSES:

1. Love And Romance.

2. Music.

3. Lead actors.

4. Chemistry between lead actors.

5. Movie's Execution and direction

MINUSES:

1. Few places pace drops but u don't think of it much as remaining it's beautiful.

2. Telephone sequence between Son and Father is useless, No need for it at all.

CONCLUSION:

OVERALL a Lovely romantic movie showing pure love, love and only love. What u can do for ur love. Aashiqui 2 lets u fall in love with it instantly. And furthermore it has a quotient that It's a movie one will either love it or might be totally opposite.

RATINGS: 9/10.

'Aashiqui 2' is A Decent Watch! Director Mohit Suri delivers a rather depressing tale on love, along-with amazing music, soothing background score & sincere performances.

'Aashiqui 2' Synopsis: A faded music sensation promotes a new talent, only to see himself in greater pain later on.

'Aashiqui 2' has a slow-paced first-hour, but an engrossing second. The film doesn't begin well, but comes up gradually & ends depressingly. Shagufta Rafiqui's Screenplay lacks pace in the first-hour, but deserves credit for a captivating second. Mohit Suri is a talented storyteller & he has directed the film nicely. Cinematography & Editing are fair. The music is amazing, while the background score is soothing.

Performance-Wise: Aditya Roy Kapoor & Shraddha Kapoor deliver sincere performances in lead roles. Also, they share a wonderful on-screen chemistry from start to end. In the supporting cast, Shaad Randhawa & Mahesh Thakur are excellent.

On the whole, 'Aashiqui 2' has genuine merits.

In India, a sequel may not mean the same thing it does in Hollywood, apparently, as the title of "Aashiqui 2" would suggest that it's a continuation of the narrative from "Aashiqui" (1990),but it's not; instead, this is another remake of a familiar Hollywood scenario, "A Star Is Born" (made in 1937, 1954 and 1976 before being once again remade in 2018),while supposedly being a repetition of the themes of the first "Aashiqui," which seems to merely mean that it's another romantic musical. I'm sure there've been more than two of those, too. ("Aashiqui 2," itself, by the way, was also remade--in Telugu as "Nee Jathaga Nenundali" (2014).) "Aashiqui 2," however is a combination of two traditions, of Bollywood and Hollywood. Even the Hindi language here is comprised of many borrowings from English. Unfortunately, the filmmakers here stripped "A Star Is Born" of all of its self-reflexive intelligence, as well as the superior innovations in production--leaving merely the plot and reworked scenes. Only the body remains, which is the least alluring part. This body is filled with generic Bollywood escapism into emotionalism, including sappy songs.

"A Star Is Born" is at its best when the scenario--originally about Hollywood filmmaking and only later, in 1976, 2018 and this version, about the music industry--reflects the real-life images of the stars that made it. In the first three iterations, the leading actresses were all attempting a comeback on some level. Judy Garland's tragic image was the most striking case, with the lead male's alcoholism becoming an allegory for her real-life drug problems and difficulties with the Hollywood studio system, the press and her fans. We get none of this in "Aashiqui 2," which, instead, casts two relative unknowns in the leads. Moreover, unlike Garland, Barbra Streisand, Kris Kristofferson, Lady Gaga and even Bradley Cooper, the actors in this one don't do their own singing. They, too, merely remain in the picture as bodies... overacting ones there only to look pretty. "Just like that," as the drunkard repeatedly says whilst staring at his protégé. This would be one thing if anything interesting were done with the fact that they're empty vessels lip syncing to playback singers--think "Singin' In the Rain" (1952),for instance, where Jean Hagen amusingly provides her own dubbing for her character, who in the story is being dubbed by another character--but there's no acknowledgement or fun had here with the fantasy. It's just fake.

It's poorly-made escapism, too. Until the last shot of her in front of a crowded stadium, most of the music concert shots are blatantly stitched together from separate footage of crowds in between the staged, cramped scenes of the characters singing in front of a skeleton of the first couple rows of an audience. There are also several lousy montages, beginning with the fading-star alcoholic driving while drinking and looking his most ridiculously pretentious as he sports a beanie, scarf, sunglasses and that perpetual stubble. This first montage leads to one of the most offensive meet-cutes I've seen, which is saying something given how many stupid romance flicks I've endured. He almost runs her over during this drunk-driving escapade, crashes into a tree, and, then, she smiles at him as he tries to help her pick up her spilled tomatoes! Things don't get better from there, either. The entire picture is constantly underscored by background music, if not downright lyrical tunes, lest the spectator be left without a cue as to how to feel emotionally, I suppose, or be encouraged to consider any of the proceedings intelligently. Most clichés in the hack's guide to romantic filmmaking are copied, too, including a repeated embrace in the rain. The 1937 "A Star Is Born," on the other hand, was remarkable as an early three-strip Technicolor effort, while the 1954 version was an early musical drama to be filmed in CinemaScope and also experimented with color. These pictures expanded the visual properties of cinema. In the 2018 remake, too, at least the camera movement is striking.

Besides my primary task of tracking down several versions of "A Star Is Born," my other interest in "Aashiqui 2" was to see a movie from India, of which I've seen embarrassingly few as of yet. Nevertheless, this seems to be a poor representative of a national cinema. It's a cheap, hackneyed and sensational melodrama. I can't even trust that it accurately reflects its culture rather than exploiting it for overwrought histrionics. Whether from Bollywood, Hollywood or anywhere else, this type of movie has always been inane, and it has nothing to do with what makes, to varying degrees, the other versions of "A Star Is Born" shine.