What may a preservationist Hindu consider much more shocking than the little girl of the family wedding a Muslim man? Answer: what about the young lady being enamored with another young lady?
The focus on this crazy, tragi-comic chain of importance of inclinations is one of the many winning parts of essayist executive Shelly Chopra Dhar’s Ek Ladki Ko Dekha Toh Aisa Laga. To section it as essentially a LGBT-themed film or a between network sentiment would be what the hero herself may call an “upar waali” (shallow) perusing of it however. Beyond any doubt it is revolved around youthful Sweety Chaudhary from Moga in Punjab who has gone through her time on earth concealing her reality from those dearest to her, yet the film isn’t about same-sex love alone. It is tied in with living and adoring as we pick, not permitting societal standards around age, sex, religion or whatever else to choke out us and hamper our own or expert decisions.
Composed by Gazal Dhaliwal and Chopra Dhar, Ek Ladki stars Sonam Kapoor Ahuja as Sweety, Anil Kapoor as Sweety’s Dad Balbir Chaudhary, Rajkummar Rao as the battling dramatist Sahil Mirza and Juhi Chawla as his companion Chattro. Here and there, a large portion of the journalists’ fight is won even before their account commences. A sweetness swarms the screen when Anil enters the image in the opening minutes. All things considered, wistfulness is a standout amongst the most dominant weapons in the hands of any producer, and we have been prepared for this estimation from the minute we knew about the cast and the title. In what manner can feelings not flood at the memory of the blockbuster melody of a similar name from the incredible R.D. Burman’s absolute last film soundtrack, or the memory of that film featuring Anil as a young fellow, that equivalent Anil who remains before us now with a dark facial hair and lined face, a no nonsense demonstration of how nimbly we could would like to age in the event that we treat our bodies well? What’s more, we see him presently offering space to his genuine girl who was a youngster when 1942: A Love Story was discharged. Draw out those cloths as of now, I state.
Fortunately, Ek Ladki does not lay on these trees. It has a story to tell and a point – numerous focuses – to make, and it does both without appearing to be swarmed or long winded. It is not necessarily the case that it is without blemishes. A long way from it. The soundtrack, for one, is determinedly normal, notwithstanding when it repeats Burman’s song for its title track. What’s more, I felt exceedingly awkward with a discussion among Sweety and Sahil in which she requests that he find different Sweetys in different towns and “usey bhi bachana” (spare her/them as well). This is a stooping line for the film to take, independent of who is articulating the discourse. The minimized needn’t bother with friends in need from prevailing networks, what is required are partners.
Furthermore, I couldn’t make sense of why the trailer attempted to manufacture extraordinary riddle around the object of Sweety’s love, yet the makers let the mystery out to the press amid the limited time frame, while the film itself again endeavors to unnecessarily develop tension similarly as the trailer did, in spite of the fact that anybody viewing both intently could have seen what was originating from a mile.
All things considered, there is much else to prescribe Ek Ladki in an industry where affectability around LGBT+ people stays uncommon, an attention on lesbian ladies specifically is for all intents and purposes non-existent (no kindly Fire is not really a Bollywood film), and Onir’s marvelous My Brother Nikhil and I Am stay disengaged examples of profundity on this front from Bollywood. Driving the encouraging points in Ek Ladki is the utilization of the parody classification for such grave social editorial, and the aptitude the journalists and executive showcase while pulling it off without taunting the LGBT+ people group.
This ends up conceivable in light of the fact that the solid screenplay is supported by a charming cast. Sonam is reasonably delicate, and Kollywood/Tollywood star Regina Cassandra has a capturing screen nearness. Their condition however is dominated by the warm science among Sonam and Anil from one perspective, Sonam and Rao on the other. A portion of this has to do with the way that Cassandra gets little screen time and the screenplay is increasingly centered around those around the focal couple than the couple themselves. You may consider this to be a take no chances approach or translate this, as I do, as Dhaliwal and Chopra Dhar’s method for tenderly breaking it to the crowd that equivalent sex love does not really include two cis men, in opposition to what the present prevailing open talk lets us know.
At various focuses in the account, diverse on-screen characters in this breaking gathering welcome the name “scene stealers”. Rao, for one, is in best structure, and the ever-loveable, ever-diverting Chawla’s execution makes one wonder why more and bigger jobs are not composed for her. Brijendra Kala as Chaubey Uncle and Seema Pahwa as Billo Aunty are a hoot. Youthful Sweety is played with certainty and sympathy by the honor winning kid star Sara Arjun, whose skillet India filmography incorporates her job as Vikram’s little girl in Deiva Thirumagal (Tamil) and the main courageous woman in Ann Maria Kalippilaanu (Malayalam).
The underestimated Abhishek Duhan is immaculate as Sweety’s sibling. In any case, the enduring memory from Ek Ladki Ko Dekha Toh Aisa Laga is of Anil taking a scene that could have been silly, unbearable and uproarious, and transforming it into an awful section of acknowledgment, self-acknowledgment and self-improvement. Ek Ladki Ko Dekha Toh Aisa Laga…