After the success of Dev D and Manmarziyaan in 2009 and 2018, respectively, director Anurag Kashyap is back with another romantic drama, Almost Pyaar with DJ Mohabbat. But much like the previous two films, his latest is a half-baked blend of unexplored themes from Gen Z life.
At first, the clunky film title evokes some hope considering Kashyap’s edgy and provocative cinema. But this is not your standard Kashyap film. Perhaps, the director wants to break free from his image of making experimental cinema. But Almost Pyaar with DJ Mohabbat won’t stand out in his filmography.
The film is centred around two couples, both played by Alaya F and debutant Karan Mehta — one in London and the other in Dalhousie, India. The two couples are tied together by differences in religion and class and fight similar themes of patriarchy and bigotry. The film offers some beautiful moments depicting the current divisive times but rarely does it clench its teeth deep enough to explore the messiness of human relationships.
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Strong performances failed by screenplay
“Mohabbat se hi toh kranti aayegi (Only love will bring revolution),” said Kashyap in his recent tweet. His portrayal of real men and women on screen has also been revolutionary and offers an alternative to unrealistic depictions of rosy romance. Social inequality, love jihad, same-sex marriages, caste — all these themes exist in Almost Pyaar with DJ Mohabbat, but none is explored enough to make a thumping impact.
The two parallelly running stories are tied with DJ Mohabbat, played by Vicky Kaushal. He reprises the essence of his DJ Sandz from Manmarziyaan and recreates it here. But beyond the similarity, the role is largely forgettable.
While this is easily Alaya’s strongest performance to date, Mehta also manages to make a promising debut. Alaya channels the honest vulnerability of Gen Z quite convincingly. If nothing else, this film will surely work as a defining moment in her budding career. In certain frames, Mehta has an uncanny resemblance to a young Ranveer Singh, but only time will tell whether the actor can emulate the career trajectory of his senior.
Another aspect to stand out in the film is Amit Trivedi’s music — which is not as impactful as Manmarziyaan — but Mohabbat se Kranti and Ghanghor Connection are peppy and catchy.
What really pulls back the film is Anurag Kashyap himself. The screenplay, penned by him, wobbles without leaving any lasting impression. Undoubtedly, he has an instinct and talent to push boundaries but falls short this time.
At one point, Alaya’s character says, “There’s no plan, and there’s no purpose”. You cannot help but echo the sentiment after watching the 121-minute film.