Chandigarh Kare Aashiqui Movie Review

Manvinder Munjal (Ayushmann Khurrana) has the body of an animal but has remained unmarried for the first 30 years. Facing the normal family temperature of marrying any living thing around him (but it should be feminine and ‘class’). Manu competes to become the ‘GOAT’ (Gabru Of All Time) fitness champion. Running in his most lost gym until Maanvi (Vaani Kapoor) comes into the picture. Her ‘Zumba’ magic attracts customers (and perverts) who keep Manu’s gym working and her hopes of having a girl in her life.

A few meetings (and songs) later, Manu falls on Maanvi and they have s * x, many will never get it for the rest of their lives, with one song. Maanvi reveals that he is a transgender person and that fact ends the violence, the ‘man’ who goes to school with him. He’s a crazy bachelor but he couldn’t get past the fact that he finally fell in love with someone. After years of struggle since his last faithful relationship. Another film is about how they deal with this reality and find a way to be together.

Script Analysis

Abishek Kapoor gets his favourite writer Supratik Sen (Kai Po Che, Fitoor) to return to the band featuring Tushar Paranjpe (Picasso, Killa). The narrative religiously follows the formation of three actions by keeping the introduction of the main character. The young man crosses the girl’s love story in the first 30 minutes, reveals the transgender twist for the next 30 and shows how the characters deal with this twist at the last hour.

The biggest flaw comes from Ayushmann Khurrana’s almost complete film because he has offended us with his scriptural decisions. If I see this after movies like Badhaai Ho, Bala and Dream Girl, I can expect a lot of jokes in it but it is not here. It’s not an unusual story in the comedy department, yes, but it’s not big either. Some jokes, conversations fall to the ground, some reach the target. It has no consensus as seen in previous Khurrana films (excluding Shub Mangal Zyada Saavdhan). Now, and I understand that the topic was critical in this and to play with it would be a dangerous proposition, but you are the guy who first emerged as a sperm donor. So!

The Manoj Lobo Camera (Jaane Tu… Ya Jaane Na) neatly captures the oomph released by both leading bodybuilders. With well-designed self-portraits, Lobo knows how to stretch the camera smoothly into Vaani and Ayushmann’s abandoned bodies. Chandan Arora’s editing is one additional benefit that limits the film to a fantastic location in less than 2 hours.

Star Performance

Ayushmann Khurrana, at this point, is just like the climber standing on top of Mount Everest thinking. Chandigarh Kare Aashiqui is still a safe place to enter because this allows him to do something he has never tried before. He is confident of his physical transformation as he played blind in Andhadhun. I congratulate him for not only being a high-profile cinematographer in Bollywood but also for holding the position kindly.

Vaani Kapoor finally gets a chance to prove the level of powerlessness that can be achieved through dedication to the character. His urban appearance is similar to what he did in Befikre but there are additional layers of emotional depth and communication. There was every aspect of exaggerating his character but Vaani maintains a dignified balance to portray a transgender person. Kanwaljit Singh gets very little to invent anything but it certainly helps Vaani’s character to grow continuously.

Karishma Singh as Vaani’s friend, though regarded as unchanging, added a certain amount to all of Vaani’s character’s relationship with Ayushmann. Tanya Abrol and Sawan Rupowali as Ayushmann’s sisters are as annoying as they should be, a very good job.

Conclusion

Abhishek Kapoor, by prediction, keeps things clean with sensitive messages of transgender love stories for obvious reasons. Expecting Nagarkirtan, in this case, would be foolish on my part, but as I complain above I hope to laugh more. Kapoor introduces the drama in the second half which could lead to inequality for many.

Sachi-Jigar has finally returned after a partial revival in Shiddat. With the right balance of quirky songs, refreshing and heavy, a music album as a package fits well with the narrative. The attraction really surprised me and no, not because of the love scenes in it.