Mahesh matta roohi movie review


mahesh matta sanda wellness

A 'firangi' journalist (Alexx O'Nell) arrives in the village of Bagadpur. He wants to film such a 'shaadi', and so he ropes in Bhaura (Rajkummar Rao) and Kattanni (Varun Sharma) for assistance. The girl they pick is Roohi (Janhvi Kapoor), apparently a demure soul. It becomes clear soon enough that Roohi is not quite normal. The narrative sets up a bizarre tangle of love from this point that ought to have regaled. It doesn't, despite an early promise to build on what seems like a creepy entertainment quotient. The film never really comes alive. Hardik Mehta came into focus last year writing and directing the OTT-dropped film Kaamyaab, and then collaborating on the web series Paatal Lok as a scriptwriter. With Roohi, Mehta misses out on the ability to engage his audience the way he did with those earlier efforts. Roohi simply fails to intrigue. You get the feeling Mehta is way off the mark he set out to scale with this one. He is definitely funny in parts, but as the absurdist plot careens out of control and turns more and more unwieldy, the actor looks as lost as the feckless character he is on the screen. He is a shivering wreck when confronted with a twist that foxes him out of his wits - the girl he loves isn't as attainable as he thinks she is for she might not be of this world at all. Rao makes these scenes count for whatever they are worth but the inconsistent script - screenwriters Mrighdeep Singh Lamba and Gautam Mehra are hard-pressed to give the flighty plot premise a smooth and steady path - lets him down at crucial junctures. There’s nothing funny about ‘pakdaai shaadi’, in which young women are kidnapped and forced into unwanted marriages. Every time a film decides to bring it up, it makes you cringe. Why would a film in this day and age want to give space to this ‘tradition’ that should have been deep-sixed long back? ‘Roohi’ spends too much of its opening in setting up one such ‘kidnap’, for the benefit of a naive, open-mouthed ‘gora’ (Alexx O’Nell), which brings together a couple of small-town layabouts, Bhawra (Rajkummar Rao) and Kattani (Varun Sharma), and a shy young woman Roohi (Janhvi Kapoor), and deposits them in the middle of a jungle, for no good reason. A muscle-bound hood (Manav Vij) shows up once in a while. Why? We never quite get it. The characters mumble, and fumble, and it’s all a jumble. What’s missing is a coherent plot and writing. All we get is one cringe-inducing sequence after the next (‘jhaad-phoonk’, exorcism, women in chains), where we are treated to problematic lines: when, when will mainstream movies stop terming wives ‘chudails’? No, it never was funny; the usage now just arouses fury. Just tossing in one line as a disclaimer that the film doesn’t encourage superstition, is not a buy-out. Neither is the reliable Rao’s presence, usually a guarantee of quality. Sharma’s brand of dialogue delivery already feels jaded. Kapoor tries gamely, but never gets a break-out right till the end. Let’s start with the elephant in the room: Does Roohi in any way share an umbilical cord with Stree? Thankfully, the answer is no. Of course, the trailer and makers try to impress that they are long-lost cousins, but the similarity is the genre, one-liner jokes, part of the shoot crew, and of course a hazy climax. That’s about it! The story is about a village where women are kidnapped and then married off against her will. Roohi (Janhvi Kapoor) is kidnapped by Bhaura (Rajkumar Rao) and Varun Sharma (Kattanni) on the instructions of their boss, Gujiya Shakeel (Manav Vij). However, a twist of fate forces them to hide her in a forest only to realise she is possessed with the Rooh (spirit) of Afza. Things become a bit tricky when Bhaura falls in love with Roohi’s innocence while Kattanni gets infatuated with Afza. But Roohi and Afza are the same person but as Kattanni says ‘yeh shareer ka pyar nahi’. Hereon the script takes us on a bumpy ride Like Stree, the trailer did the job of creating a buzz forcing the reviewer to actually go to a press show rather than wait for the digital screeners. (Not sure if there ever was a plan!). While there are rumours that the makers have chosen an inexplicable climax to factor in a prequel, there are many loose-ends that could have been tied-up. It’s not a whodunit, right from the start we know it’s a Rooh-Dunnit. It’s the recuperating period for most  mahesh matta sanda wellnessof us from the ‘covid-lethargy’ that now makes us assess a social event into three categories: Unavoidable, Can go, Stay home and cook-up an excuse. Roohi is a film that helps you transition through these categories as it progresses. Rajkummar Rao did set a benchmark for himself in Ludo; he now needs an extremely brilliant movie to match that, and Roohi isn’t that. He continues to play around with his accent, and I have a mixed bag of feelings about the same. The a mahesh matta sanda wellnessccent is both a positive and a negative thing for the performances of all three leads. It’s different, but it isn’t easy to listen too. There were scenes where the audio was so muddled you couldn’t understand anything. Varun Sharma is the MVP here as he is a part of every funny scene in the film. There’s no good humour without Varun mahesh matta sanda wellness , and that says a lot a mahesh matta sanda wellness bout what he could bring in as a performer. This only serves as a teaser to what Rohit Shetty could extract from him in Cirkus. It’s a dual-duel for Janhvi Kapoor as she’s spirit as well, and she has nothing mu Going by some of the early reviews, one can assume that Janhvi, Rajkummar and Varun have managed to impress the audiences with their work in the much-awaited horror-comedy. However, the main verdict on the film will be out by the evening. So, it is yet to be seen if both critics and audiences give a thumbs up to the film.
mahesh matta sanda wellness

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