Sara Ali Khan steals the show

Abhisekh Kapoor’s ‘Kedarnath’ never transcends into the romantic epic it sets out to be, but at the same time, it’s difficult to overlook some of the film’s sub­versive storytelling choices and to shake off the charms of newcom­er Sara Ali Khan and an in-form Sushant Singh Rajput. Even with an inconsistent screenplay, direc­tor Kapoor’s masterful grasp over filmmaking craft doesn’t let in any dull moment. Tucked in the laps of the majestic Himalayas, Kedarnath is an Indian town and a popular pilgrimage for Hindus who throng there in num­bers to visit Lord Shiva’s Kedarnath temple. Here we meet our two central characters: Mandhakini (Sara Ali Khan), the bratty daugh­ter of a local Hindu priest, and Mansoor (Sushant Singh Rajput), a Muslim porter living with his single mother. At first glance, you can’t help but get a strong ‘Sairat’ (or its Hindi remake ‘Dhadak’) vibes from this storyline. And yes, religion/class conflict is at the heart of the romance in ‘Kedarnath’.

Who should watch it?

Sara Ali Khan doesn’t disappoint in her debut. If you liked Abhisekh Kapoor’s ‘Kai Po Che’ that blended friendship, cricket and religion, ‘Kedarnath’ can be taken as a good companion that gives similar treatment to romance, religion and natural calamity.

The first half unspools by bring­ing the two characters closer through cleverly shot montage sequences while also hinting at the dark clouds surrounding them in the form of Gullu (Nishant Dahiya). Gullu is an influential local Hindu leader, who we come to know has called off his pre-planned marriage to Mandhakini’s elder sister and instead taken dibs at Mandhakini to be his new fiancé. Mandhakini and Mansoor’s increasing intimacy is pitted against Gullu’s growing possessiveness towards Mandhak­ini. This in turn fuels a bigger ten­sion between the high-caste Hindu group and its working-class Muslim porter group.

Then, as we approach the third act of the movie, the sky grows darker, the mountains appear unstable and the film promptly shifts genre. From ‘Romeo Juliet’ it turns into a ‘Titanic’ scale disaster movie. As all hell breaks loose, the theme doesn’t hinge on ‘Man versus Man’ anymore, but on ‘Man versus Nature’. (The film is partly based on the devastating Uttara­khand floods of 2013).

‘Kedarnath’ belongs to Sara Ali Khan. In her first film she is not only easy on the eye but finds a delicate lightness and extra poten­cy in her portrayal of Mandha­kini. Likewise Sushant Singh Rajput looks earthy in a physical­ly demanding role. They make for an endearing pair and get you to root for them. The makers may have attempted a grandiosely imagined romance of two star-crossed lovers through popular cinema troupes, but there are touches here and there that give the film a fresh look and feel. Mandhakini is a damsel in distress but she’s also the initiator who woos Mansoor rather than the oth­er way around. And Mansoor is unlike the cocky and street smart small town heroes we’re used to seeing on screen lately. He feels more subdued and sensitive.

Just like how Mansoor’s charac­ter walks uphill carrying pilgrims on his back, the film contains too much, in that it finally starts to crack open. Kapoor tries to make up for the tonal inconsistency by pouring immense effort in design­ing the breathtaking final disaster sequence; still it sticks out as some­thing that belongs to a different movie altogether.

But despite the unstable screenplay, there’s plenty in ‘Kedarnath’ that keeps the journey emotionally thrilling and visually arresting.

Movie: KEDARNATH

Genre: ROMANTIC DRAMA

CAST: Sushant Singh Rajput, Sara Ali Khan, Nishant Dahiya

DIRECTION:Abhisekh Kapoor