In the 2018 “Stree”, Bollywood gave us a ghost that walks, his feet “ultey” twisted, leaving pieces of gleeful subversion in the small town she haunts. Some nonwhite notches, “Stree” was a thoughtful feminist comment on the secular fear of strong and eager women.
With the same producer and the main actor Toplining ‘Roohi’, the new release of this week in the theaters, I was hoping again. Unfortunately, Vijan-Rajkummar Rao’s horror-comedy is simply horrible, with a laugh.
The plot and the summary of Roohi:
Two small boys, Bhaura Pandey (Rajkummar Rao) and Kattanni Qureshi (Varun Sharma), are blocked with Roohi (Janhvi Kapoor) under strange circumstances.
She seems to be a simple and difficult girl, but they soon realize that she has another party to her – her “ghostly” personality, Afza. Bhaara develops feelings for Roohi and Kattanni Falls for Afza.
With a strange bristle of romance between the crazy trio, Bhaura badly wants to get rid of Afza. It leads them to strange situations, but comics, where they encounter odd characters. Which happens then forms the node of history.
Our verdict on the film Roohi:
There is nothing funny “Pakdaai Shaadi,” in which young women are kidnapped and forced into unwanted marriages. Whenever a movie decides to bring it, it makes you fear.
Why would a movie of this day and age give way to this “tradition” that should have been deep in deep silk? “Roohi” expenses too much of its opening in the establishment of such a “kidnapp”.
In favor of a naive and open “Gora” (Alex O’Neill), which brings together some Layabouts of a small town, Bhawra (Rajkummar Rao) and Kattani (Varun Sharma) and a young Roohi young woman (Janhvi Kapoor) and throws them in the middle of a jungle, without good reason.
A muscular limited bonnet (MANAV VIJ) comes once from time to time. Why? We have never quite. The characters mumbled and smoke, and that’s all clutter.
There is something with Roohi. The two boys will soon discover that she is a shifter of shape. She is passing from a murmur to a roar whenever she feels like that. There was a potential for this idea: a woman is never one thing or another. It has as much right to be many entities, like anyone. But the movie slaps with great determination and tasteless jokes.
What is missing is plot and consistent writing.
All we get is a Cringe-inducing sequence after the next (‘Jhaad-phonk,’ exorcism, women in chains). They are treated with problematic lines: when, when, when traditional films cease to stop the Women “Chudails”?
No, it has never been funny; The use now has just sparked fury. Just launch a single line of disclosing that the film does not encourage superstition is not redemption.
The presence of reliable Rao is also not a guarantee of quality. Sharma’s dialogue delivery mark already feels Jaded. Kapoor tries Jamement but never takes a break until the end.
What the film is missing is a deeper story. There is a passage of passage from what the main characters do with a back story, but very few sticks in your mind. After more than two hours, the film could certainly do with a closer edition.
In addition to all in the entertainment part. The film promotes the concept and idea of the self-love and self-belief. Which works to a certain extent. But the end seems to be a little practical. Randomly and lacks the punch that the one who is nourished from the beginning.
The music, the two main tracks – Nadiyon Paar (repeated version of the music) and Pango – who play during the opening and closing credits are the strengths of the original band consisting mainly of Sachin-Jigar and stay in your mind. Even after the end of the movie.