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Katti Batti: Movie Review

  • Merkwürdige Liebe

    Merkwürdige Liebe

    Rated 
    2.0
    Desimartini | Updated - September 18, 2015 2:22 PM IST
    3.0DM (864 ratings)

    Verdict - An extremely messed up romance which has its moments, but is far too problematic to work.

    Katti BattiWatch trailerRelease date : September 18, 2015

    Nikhil Advani rehashes the Kal Ho Naa Ho formula in Katti Batti, but the film is a hot mess, and a problematic one. It begins as a riff on (500) Days Of Summer, and Advani does something interesting with the film's editing rhythm in these portions, seamlessly switching flashbacks such that it completely erases the demarcation between the time-frames. There are no signposts to denote the chronology, and it gives the film a limbo-like, timeless feel (which is ironic, since the film is later revealed to be about time itself.) I was hoping that this strategy would give way to some sort of a comment about relationships - at one point, the film even reminded me of Last Year At Marienbad what with its dreamlike structure which shows conflicting viewpoints of the characters. But as soon as the film makes its way to the second half, it's a trainwreck: the entire story thus far is narrated through the perspective of Madhav (Imran Khan), who's in a bumpy and complicated relationship with Payal, named after an ornament much like the actress who plays her. Payal's actions are bizarre, to say the least, and since the film is utterly devoid of a female perspective, her character comes across as clumsy. The bizarreness would've worked had the film, say, went ahead with the surrealist angle (as Tanu Weds Manu Returns did,) but Advani is after a straightforward romance. Which is greatly marred by the fact that the film bases its emotional core on a fatal disease. But unlike Kal Ho Naa Ho, the tragedy in Katti Batti is milked for its shock value presenting it as a "twist", and whatever little intrigue Payal's character holds till the big reveal is completely cheapened by the shameless manipulation at work. It's all supposed to be touching and make us teary eyed, but instead ends up being kind of disgusting, thanks to poor taste and all that. I mean, how can one be expected to be moved by the valedictory shots of the dying character experiencing kitschy happiness for the last time under a white blanket? Making a tragedy feel like deliberated design can only give the film so much breathing space.

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