रॉकी और रानी की प्रेम कहानी

Finally, Karan Johar does it, finally. It's taken time, but this is without a doubt his best film. I thought his best film would probably come when he finally tones down the high melodrama that often prevails in his directorial efforts. But no, not only didn't he give it up, he actually embraced it wholeheartedly and in the process created a film so whimsical and animated you can't leave it. Indeed, Rocky Aur Rani Kii Prem Kahaani is a full-on emotional melodrama, but one that celebrates and remains in sync with its great spirit of joy, its musical abundance and cultural diversity, maintaining a deep connection to its Indian roots as well as the heritage of popular Hindi cinema, while conveying positive social messages through glossy entertainment.

The film is a visual extravaganza, and it's shot so well that in some parts it reminds you of Sanjay Leela Bhansali's films. The setting is highly luxurious and glossy, and the amount of money and effort put into creating some of the exteriors and the overall production design is quite evident. Some of the sequences, like the wedding ceremony, the Durga Puja party, among others, are absolutely stunning in their photography and style. Also noteworthy is the fact that finally a film by Johar isn't set in New York or London, finally a film that embraces its own Indian culture, particularly the diversity of it, and above all embraces the Hindi film format, showing that masala isn't a derogatory term for cheap potboilers, it could be a perfectly legitimate form of art, too.

The narrative style is just fully musical, and I can't think of a better way to have music as your main means of communication on film. Indeed, music comes everywhere, in the middle of the streets or a random conversation, even in the middle of a fight. The film totally celebrates Indian popular culture and it does so completely unabashedly. Some of the original numbers (including "Tum Kya Mile" and "Kudamyi") are stupendous and they're obviously wonderfully shot, but the nice original songs put aside, the film recaps numerous classic Hindi songs throughout its duration ("O Saathi Chal", "Hum Tum", "Abhi Na Jao", "Aap Jaisa Koi", "Aaj Phir Jeema", "Dola Re"), making it quite a fun nostalgic ride and a tribute to Hindi film music.

So, what this film is about is quite obvious, I believe. Rocky and Rani fall in love and their idea to bridge their cultural differences is to reside each in the house of the other for a period of three months. Both come from wealthy families, but his is a traditional, conservative Punjabi family led by his grandmother, a domineering matriarch who keeps a firm hand over everything and every member of the family. Rani comes from a liberal Bengali family of intellectuals and academics who love poetry and high culture. It is obviously a stereotypical portrayal, but it's passable. The hostility toward the two in each house exists, albeit at varying degrees depending on the particular members of the family, but it becomes a nice journey to learning and self-discovery for all.

Interestingly, instead of deepening the contrast between modernity and tradition, this film fosters a common ground between the two, finding creative ways to make them meet in the middle, which is exactly the kind of balance politicians in the world should do but never grasp. The film incorporates a strong feminist voice, while also defying gender stereotypes and prejudice. While the messaging is a little too obvious and a tad preachy at points, it's never extreme. The principles it promotes are most basic: equality, respect, and the right to self-fulfillment. At the same time, it strongly attacks the ever-restrictive rules of political correctness, and the weird phenomenon of the cancel culture, a terrible substitute for education and social change through teaching.

Now it's pretty obvious that the film isn't to everyone's taste. The dialogue is overtly emotional and exaggerated, with heavy music playing in the background and the camera focusing on crucial moments in amusing ways, exactly the way it's done in the most casual of soap operas. The way the families from different ethnic sectors are portrayed is also quite caricaturish. BUT it also depends on the context. Unlike Johar' कभी अलविदा ना कहना (2006), which was an awful film for many reasons, particularly because of its attempt to make a serious film through the most shallow scenery, childish dialogue and the most convoluted of situations, here the context is everything and the foundation is so wild and traditionally melodramatic that much of it is forgiven.

The film stars two of the top stars working in Hindi film industry today, Ranveer Singh and Alia Bhatt, and both are wonderful in etching out their starry turns while still capturing the human core of their characters. Bhatt is exactly the right combination of the new Indian woman who knows her mind but also has her values intact, and she is wonderfully expressive and charismatic. It is Singh though, who keeps everyone on their toes. His flamboyant energy remains unmatched and is quite infectious, and even in the most melodramatic parts he manages to immerse himself in the dialogue and the character's emotional condition. The two have great chemistry together, which is very filmi but quite credible within the film's context.

But the show also rests on the towering presence of its veteran players, especially Jaya Bachchan and Shabana Azmi. Bachchan obviously hardly ever hits a wrong note in a role similar to what her husband played in कभी खुशी कभी ग़म... (2001). Her character does veer into caricature, especially in her permanent frown throughout the film, but it's so much fun. She nails every second of Dhanalakshmi's imperious presence, vicious stubbornness, and non-nonsense attitude. Her dynamic with Alia reminds one of Dina Pathak's rapport with Rekha in Khubsoorat (1980). Azmi is wonderful as her polar opposite, portraying with great delicacy and depth a character that could have been sidelined as just another grandma-filler part, but she gives it so much meaning.

And so do the other players. Dharmendra does really well in a relatively small part. As his son, Aamir Bashir, an excellent actor in his own right who is quite underrated, plays the male version of his mother exceedingly well. Tota Roy Chowdhury as Rani's father who doesn't abide by the rules of gender roles and keeps his love for Kathak dancing alive, is excellent. His dance is fantastic. Bit parts by Kshitee Jog and Anjali Anand as Rocky's mother and sister, are very good. It is Churni Ganguly, however, as Rani's eloquent but condescending, high class and touch-me-not sort of woman, who is the best of the character actors, and she grows as a character. Overall, 'Rocky and Rani' is wonderful entertainment. It's not a perfect film, but its heart is in the right place and it works.

Right from the start, you can easily tell the amount of lazy writing and fan service to expect throughout the film.

Breakout dances every 15 minutes (more than typical Bollywood films) and the worst part is they don't even make sense. From exchanging of dialogue to a sudden burst of hundreds of people dancing where the protagonist is at the centre stage for no apparent reason. At least musicals are backed by somewhat decent plot and a reason for the dance break, while not being unconvincingly lip synced.

As for lazy writing, it seems like the writers didn't consider the world around them. There are so many unrealistic scenarios throughout the movie, the main characters act like they are the only people in the city and everything else is just in place to serve their "love story". Characters take a whole 180 on their beliefs based on a few seconds of talking with someone, feels like this was written by a teenager with surface level understanding of the human psyche, not knowing that people don't just switch sides in a snap.

The biggest problem are the fans in India that want this kind of nonsense, producers will gladly cater to this audience as it brings in money. Fans will not change, beliefs and taste will not change, and neither will Bollywood. Such a shame.

The movie is OK for one time watch.

Nothing overwhelming or spectacular.

It's just another Karan Johar's big Fat drama.

People are tired of such stories.

Actors have tried to do justice withe their role but alone they can't make up for sinking script.

Bollywood needs to step up from their typical stereotype and start scripting something unique.

Karan Johar needs to get out of his mindset of thinking that viewers would accept everything that he serves and should start thinking in new lines and search for uniqueness.

Songs are pretty average.

They tried very hard to make Jhumka songs trend but that too failed.

Very boring move please don't waste your time I don't expect this kind of movie Karan Johar making completely time wasted. Stupid actor and he's bakwas acting. I feel like this movie only made for girls because of ranabeer Kapoor bakwas acting. Even one dialog from this movie don't remember and what kind of songs they sing every time playing song kabhi nai jao chhorr kar dil abhi bhara nai. Lagta he who song main puri life play nai karunga. I request this stupid flim maker Karan Johar please don't make like this movie and don't waste people's money and time. Aliya's acting was just look average.

I was genuinely surprised to read the reviews, with one suggesting watching it for Alia Bhatt and the other recommending it for the sets. If these are the criteria you're looking for, then sure, go ahead and watch it. Otherwise, please read on.

This film marked one of Karan Johar's weakest presentations. He attempted to cram too many social issues and family drama into a single storyline, resulting in an excessively long movie that ultimately hampered the entertainment factor. But that wasn't all; Karan Johar indulged in choreographing a grand wedding, albeit a cinematic one, using the investors' money, needlessly extending the film's duration and fulfilling his dream of actually choregraphing one.

The movie boasted typical extravagant sets with an abundance of colors, as Karan Johar is known for. However, several aspects made it fall short. There was an excessive amount of kissing scenes featuring Alia Bhatt and Ranveer Singh, which felt unnecessary and frankly, uncomfortable and unnatural. Moreover, Dharmendra's casting was a questionable choice for his role, considering other potential options. Additionally, the scene involving Shabana Azmi was rather immature on Karan Johar's part. That's all I have to say about that. Grow up Karan!

Nonetheless, there were some redeeming moments, mostly when the film relied on tried-and-true elements. Karan struggled to find an ideal theme song for the movie, resorting to older tracks. He attempted to emulate Yash Chopra with scenes featuring sarees, mountains and snow but he couldn't understand and grab the Yash Chopra vision.

All in all, this movie was highly disappointing on multiple fronts.