Abhishek Kapoor’s unconventional love story takes place in the hotbed of masculinity and is essentially a case study of a man and woman struggling inside the bodies nature has assigned to them. .
Our mythology is peppered with fluid stories between the sexes and our laws have begun to respect sexual diversity, but our mainstream Hindi cinema continues to tell love stories as simple as Manu Munjal, the protagonist of the last leap of faith of Abhishek Kapoor. An unconventional love story set in the hotbed of masculinity, it’s essentially a case study of a man and woman struggling inside the bodies nature has assigned to them. .
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Bodybuilder and fitness trainer Manu (Ayushmann Khurrana) seeks to overcome his shy past, when he was bullied after his mother’s death, to build the best body in town, but his softcore refuses to crystallize.
Zumba instructor Manvi Brar (Vaani Kapoor) has sought to align her anatomy with her personal sense of gender, but the scars inflicted on her by family members and society continue to haunt her.
As Manvi tries to bring the muscleman a little bit of rhythm, sparks fly, but Manu’s social grooming – which also reflects the conditioning of much of the audience – doesn’t allow him to see that he and Manavi are sailing in. the same boat and complement each other.
Even though they bond and train with the hormone-pumping music of Sachin-Jigar, the film consistently asks what constitutes normal. Manu’s widowed father (Girish Dhamija) is in an interfaith relationship, which he has hidden from his family, as he feels they cannot handle it. Manu’s English lacks inflections, but he longs for a neat girl, and Manvi sees a gentle soul beneath his raw demeanor.
Indeed, Chandigarh Kare Aashiqui locations a forward-looking idea and strikes up a conversation whose time is right. After Kai po che and Kedarnath, Abhishek pushes the limits again but this time the resolution is practical and predictable.
At the start of the film we are told that money is not a problem with Manvi; it takes away the emotional turmoil and the economic cost of gender reassignment surgery, without which the story couldn’t happen. The medical aspect of the complex process is hardly touched on. Sure, it’s a topic of conversation, but instead, under the guise of mainstream romance with a message, it appears the manufacturers are selling the benefits of cosmetic surgery to unsuspecting young people.
With the exception of Kanwaljit Singh, as a retired brigadier, father of Manvi, the supporting characters run out of steam after a few laughs. The character arc of the sisters of Manu, who are keen to bring a beautiful and fair conventional Bahu, is also disappointing.
The crackling chemistry between Ayushmann and Vaani, however, ensures that the luscious romance seeps through the screen and covers the cracks that appear in the script in the second half.
As a self-distrusting and sassy Manvi, Vaani is a revelation. Returning a hint of hoarseness to her voice, she skillfully engraves the confidence and complexes of a girl who loves the mirror, but whose eyes empty in the middle of a conversation. It’s his credible performance that helps us set up Manvi’s backstory.
Once against playing imperfection with conviction, Ayushmann shines as a Jatt boy who grapples with his social prejudices. For once he gets the chance to flaunt a wavy body with his acting chops and Ayushmann doesn’t disappoint on both counts.
When Manu hits over his weight in the final, the commentator likens him to lifting the Sanjeevani. It is indeed, because it is a symbol of the lifting of centuries of misconceptions and prejudices. Reality will come later!
Chandigarh Kare Aashiqui is currently in theaters