There is one millennial rum com brand that has recently invaded Bollywood. They are prepared to update the epic romances that Hindi cinema has been working on for decades.
Including mustard fields, European journeys, and endless mercy. On the other hand, these films promise more realism. Than escapism to reflect the changing priorities of the younger generation and the decades in which they live.
The usual barriers to romance here are not external causes:
Such as disapproving parents, arranged marriage scenarios, or religious defects. Instead, they are more internal – emotional baggage, attachment phobia, or simply old indecision. But the problem is this: despite the modern packaging. The romance portrayed in these films is grossly unrealistic and ignores the time we live in.
Taranvier Singh’s directorial debut “Tuesday and Friday” is the kind of film that serves as a template. The film is set overseas, which is short for showing that the universe is inhabited by characters living neat lives on Instagram whose money is never an issue.
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The main characters are Varun (Anmol Dhillon) and Xia (Jhataleka Malhotra). The two attractive millennials don’t do much work but have mysteriously successful names. He is a “bestselling author” and the “lawyer” who gives him the rights to his drawn-out film.
They are naturally good at their jobs, even though work is not a priority. And their love story is riddled with unnecessary complications, most of them centred around severe accusations of “commitment phobia”. Varun and Sia agree to be a romantic couple only two days a week: Tuesday and Friday.
Other days of the week, they are just friends. But their condition can not prevent the possibility of falling in love. This is a film where two lovers fight because they can, not because they have to.
It seems that in line with Friends with Advantages and No Ties:
Tuesday and Friday are too obsessed with conveying standard Bollywood romance to say anything worthwhile. His ideas of attraction, romance, and conflict are so empty that they go back to zero years.
When it comes to offering a myriad of possibilities where thousands of years. Embedded in the language of casual flight in an age of infinite possibilities. Sabotage their own romantic lives, then Tuesday and Friday fall short by a few miles. The space is thin, the dialogue is incomplete, the acting is low-key, and stereotypes abound. For example, in one subplot, a gay man is pretending to be correct, and in another. There is Xia’s 18-year-old sister desperately trying to lose her virginity.
Like the hairy Varun, Sia, Dhillon and Malhotra. Dhillon appears to be quite restless in front of the camera and very incompetent in emotional scenes. Being a show where he is only in front of the camera instead of acting. Malhotra was no better, too emotional to the point of exhaustion.
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The script is so captivating that there’s not a single reason to invest in these two characters. And Dhillon and Malhotra’s performances are so mediocre and forgetful. That they may have just set a new standard for a bland debut. Put, making a film feel like a parody of yourself. But the film’s most inexcusable flaw is its deafening soundtrack, automatically tuned by Tony Kakkar. Who mixes music with excruciating noise.
At this point, I’d pay anything for an app that fines directors. Every time they release a remix of an unnecessary. The piercing soundtrack that sounds like a hate crime. Tuesday and Friday are best described as Imtiaz Ali’s film without personality.