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By now it is widely known that Aashiqui 2 has got absolutely nothing to do with Aashiqui, the 1990 meg-hit, and probably the only hit that the careers of Rahul Roy and Anu Agrawal were fortunate enough to witness. The new movie, directed by old hack Mohit Suri and penned by Vishesh Films’ prolific writer Shagufta Rafique, who is probably writing a script as I type this review, doesn’t have the substance in it to be adequately recommended. It’s got an engaging, conflict-ridden story that could have been so much more, had it been written keeping in mind a definite structure and a better resolution.
Aditya Roy Kapur plays Rahul Jaykar, a sensation who once was, but now seeks refuge in the comfortable confines of Old Monk. Doing shady shows where he gets attacked by beer-cans, he happens to spot a talent called Aarohi, who he believes, is worth the nightingale’s title. He vows to initiate her into super-stardom and lives to fulfill that promise alright, but her growing popularity leaves him jilted and disconcerted adversely affecting the promising romance.
There are number of problems in the storytelling and much is to do with the primary characters. For one, we only know of RJ as a pop sensation but never see him at his peak. His eccentricities and lawless irreverence are coyly written so that we believe in his snobbery and bratty ways, inherited from the lost stardom. Secondly, his dramatic infatuation with Aarohi is not driven by what she really is, but by what she potentially could be. This is in direct contrast with what Arjit Singh has been crooning with all his might. RJ essentially sees the reflection (there’s a scene which quite literally “shows” you this) of his past in the future of Aarohi and wants to catapult her to those levels by playing mentor-cum-lover. What he doesn’t foresee is that this arrangement is perilous and definitely not sustainable keeping in mind societal norms and what with creepy journalists around (a hugely unrealistic portrayal of a kurta-wearing dude who starts abusing him)
Aashiqui, I feel is a very promising concept in itself, one that bears thematic semblance with Hrishikesh Mukherjee’s Abhimaan. Aashiqui, also, accidently I believe, deals with the male psyche and its incapacity in dealing with failure. To project this, we also see some terrific independent scenes, like when RJ steals money from Aarohi’s wallet, and she sees this, but doesn’t confront him or let him even know that she knows. But these are individual scenes written with the motive to stand out, and nothing ever comes together holistically as the film becomes repetitive, whimsical and even self-indulgent.
The music succumbs to monotonic repetitiveness and rings hackneyed after a while draining away all the emotions it could inspire. Roy Kapoor’s brooding intensity lends RJ with a complex personality, but is nowhere close to the jilted and neurotic personification of Jordan, by Ranbir Kapoor in Rockstar. Shradhha Kapoor tries. That’s enough.
Overall, the music and lyrics do not compensate for a disjointed screenplay and an arbitrary resolution which comes on the pretext of the guy leaving for a gym membership. The dialogues, most often, are unintentionally funny and this, although fun for the guilty-pleasure-seekers, takes away the seriousness from this somber exercise. Mahesh Bhatt plays an omnipresent father who is readily available to play agony-Papa over the phone. Insane, this Aashiqui 2.
What is most hazardous is Aashiqui’s obsessive-compulsive idea of love, which has shaped many people’s idea of love, some going as far as rejecting any love that isn’t obsessive-compulsive. They will, like RJ does, reinforce their beliefs and go ballistic crooning, “Meri zindaaaaagiii… ab tum hi ho…” but I hope they realize the tragic consequences of investing such psychotic faith in anybody.