Kedarnath is a forgettable film, but some may remember the girl fondly - which might be the film’s only goal. This visit to the restroom, however, may be the only impact it generates, since the devastation is too dimly lit to be visually impressive or emotionally evocative, while our hero seems to have developed the ability to breathe underwater.
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For the last twenty minutes, the screen floods and the sound of the torrent is incessant enough to strain the bladder. Kedarnath is a forgettable film but people may remember Sara in it. I say it feels accidental because of the way the film usually trades in Sooraj Barjatya tropes: a couple sip from the same glass in lieu of a kiss, a suitor is beaten up by privileged bad guys, parents commit violent emotional blackmail, and so on. Here, the boy who never speaks up for his rights begins to hold court in front of a council of elders, directly after having kissed the talkative girl as if she literally gave him her tongue. Kapoor’s films feature moments of poetry that seem accidental. Should it therefore simply be called an ‘anquin?’ So slow is the film that I found myself musing on questions about his apparatus, a wicker chair converted into a rucksack: basically, a palanquin for those who travel solo. He’s a porter who carts people up and down the mountain on a stool strapped to his back. The boy, Mansoor, is played by Sushant Singh Rajput, a reliably solid actor making his most in a badly written film, looking suitably overwhelmed at the possibility of romance. (I don’t mean to suggest this is any sort of intriguing role, it’s just nice to see him.) Kedarnath uses all Sooraj Barjatya tropes.
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This is another tired story about disapproving Hindu-Muslim parents tearing lovers apart, the only twist being that the pandit patriarch is played by Nitish Bhardwaj, Lord Aquaguard Krishna himself. This film claims to be about the Kedarnath floods of 2013, but the catastrophe serves as an afterthought, coming in at the very end of a 1980s-type star-crossed romantic melodrama. She is certainly atypical, though, and that may hold promise. She is fine when silent and sad, and, from time to time, displays an interesting awkwardness. The actors around her are markedly natural - Pooja Gor, playing her stern elder sister, is so damn real - while Khan is playacting.
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Talking nineteen to the dozen is tricky, and Khan isn’t spontaneous enough. Her character Mandakini is exaggeratedly feisty, the sort often played by Parineeti Chopra and Anushka Sharma, and, in another time, by Khan’s own eternally plucky mother, Amrita Singh.