Teri Meri Kahaani

The movie was good in parts. The ending was very linear without any ups n downs which makes the climax not as good as the rest.

The 1960 era Mumbai was beautifully recreated with VFX. 1910 era was also fun. 2012 era was OK. Top notch cinematography by Sunil Patel. Some nice dialogs and shayaris by Kunal Kohli. Shahid was awesome as Javeed and Govind. Priyanka was good as Aradhana and Rukhsar. The movie didn't do justice to both their talents. Cool music by Sajid-Wajid. Nice costumes. Overall it was a hard work effort, presentation wise by Kunal Kohli, but unlike Hum Tum and Fanaa, it doesn't connect.

In the end, the movie confuses you whether it gives any message regarding love or its just 3 love stories! Its a feel good one time watch rom-com.

The Best ever. Superb acting by all. Lot's of memories is bonded with this movie. Lovely ever i have seen it Lot's of time. Just i am realizing this movie actually.

Teri Meri Kahani , based on Taiwanese hit Three Times, was a rom-com love story that could have been crafted better but unfortunately was mowed down by weak direction and poor script.

Teri Meri Kahani explores the story of three generation with one common link in all the narratives– LOVE. The film starts of with the train sequence in 1960 Bombay between a struggling musician Govind and film star Rukhsar meeting on a 1st class coach. The film straight away progresses to the current generation of Facebook and Twitter where Krish meets Radha on a busy street. As the film breaks for the interval , we are swung back to the pre-partition period , where the lover boy Javed juggles between local woman eventually falling in love with conservative yet rebellious Aradhna.

Now , I have been a big fan of HUM TUM (also directed by Kunal Kohli) and was expecting the same heart-warming , emotional touching love story this time. To my surprise, I was disappointing with this film. Even though Kunal Kohli had wonderful story to tell, but the lethargic pace and superficial drama could not salvage the film from falling into the pit. Whenever Shahid Kapoor and Priyanka Chopra meets, it always seems so over the top as if they were meant to meet each other and not through natural means. I like the first story in early 1960 in Bombay more because of the fantastic art direction and good CGI recreating the early Bombay so beautifully. The second story was superficial combined with over-the- top acting by Priyanka Chopra. But it is the pre-partition story which made me sit back and enjoy the story. Never the less , the film is full of loopholes and boring drama which sometimes makes you scratch your hair. As mentioned before script is poor along with weak music. Cinematography is eye-catching with fantastic efforts made in sets to re-create the 1960s of Bombay culture. Background score is hopeless and so is Priyanka's acting . She is the same actress who got national award … can you believe it . The only silver lining in this dull film is superb acting by Shahid Kapoor. I think it is high time we stand and notice this actor's talent. He was the best among three characters as Javed Qadri. His sher-shayari was just amazing along with his dialogue delivery.

So , overall , a golden opportunity gone wasted . Rather than concentrating on technical aspects of the film , Kunal Kohli should have made sincere efforts in the direction and screenplay area. But if you are big fan of Shahid Kapoor , you might give it a chance. Below average : 1.5 / 5

Kunal Kohli has been associated with 'All Inspired Films" since his first venture & working on the same formula, he once again comes up with a film based on another borrowed idea, this time taken from a Taiwanese film called "Three Times" or "Zui Hao De Shi Guang". Reportedly Imtiaz Ali was also inspired from the same film for making his "Love Aaj Kal". But then he didn't blindly follow it and his script talked about the different eras as part of flashbacks related to his few key characters. Whereas in TERI MERI KAHAANI, Kunal adapts the concept as it is from the original giving it his own Indian touch in the three different eras.

Now where the original deals with 1911, 1966 and 2005, this present version deals with 1910, 1960 and 2012. But this time Kunal really works upon the inspired concept and majorly re-shapes it with his own vision converting it into a marginally interesting one. Honestly, I neither liked the Taiwanese film for its lifeless content nor I really loved the present unclear version of Kunal Kohli. However I would like to mention one big difference here, in the way a story can be conceived by two different directors making it more realistic in their own ways.

In TMK, when the script moves into 1910 we get to see the era depicted by colourful sets, people from different religions, British police officers and freedom fight struggle going on in the country along with few peppy songs. But when the Taiwanese film goes into the year 1911, its narration suddenly becomes mute as a silent movie….Why….because obviously it was an era of silent screen communicating with the audience through the running captions. And that's the difference between the vision of a creative director and a commercial one.

Talking about 3 distinctive love stories happening in 3 different eras in TERI MERI KAHAANI, it basically looks like a direction less project taking you no-where. As it begins with 1960s everything is fine and you enjoy watching the lively era without any major development in the story. But when the same keeps happening in the other two eras too then one becomes restless and starts looking for the basic purpose behind showing all this. In fact till the last 20 minutes of the film, both the viewer and the director remain clueless about what is happening on the screen in a strange manner. And when all the explanations are given in the final reels, one doesn't feel convinced or interested at all in the way it is depicted.

In short, the first era of the 60s remains the best out of the 3, whereas the representation of 1910 remains the weakest. In between these two, the 2012 version of the love story never rises above the average. So, where the initial 40 minutes of the film are refreshing, the rest showcasing the other two time periods simply give you nothing. And in the end, it really makes you think that why on earth Kunal chose this inspired subject when he never knew what he is going to do with it on the screen. The director also remains confused in his re-creation of the past, both in the sequences of 1910 and 1960. For example, he shows a big flex hoarding being displayed in the year 1960 whereas there were only handmade hoardings or multiple-sheet paper posters used in that time for publicity. Moreover, he takes too many liberties in depicting the complex 1910 era when India was still struggling under the British rule. But here the silver lining in the dark is that probably TERI MERI KAHAANI is the first film ever which takes the British rule over India in such a positive and cool manner. And I seriously wish this was done in a more appealing way because it could have actually turned the film into something interesting.

Technically, though it was quite cosmetic in looks but still I enjoyed watching the 1960s graphical representation (Set Designing & Cinematography) on screen and loved the spirit in this particular part of the film. But the same cannot be said about the 1910 era as its recreation was in fact way below the mark and not competent at all. In the performance section, both Shahid and Priyanka frankly had nothing to do in the script except looking good and keep smiling. The story doesn't give them the opportunity to display a wide variety of emotions and they both majorly remain the same throughout the film. Yet TMK can easily be called a Shahid's film more than Priyanka's. The pair does well particularly in the first half of the film but frankly I liked Prachi Desai's small cameo a lot better than Shahid-Priyanka's complete two hour act put together. Neha Sharma is OK looking quite different from her looks in CROOK and Vrajesh Hirjee is as usual fine in his role of a reporter or detective.

In all, the only merit of TERI MERI KAHAANI is its soundtrack which gives you some good foot tapping numbers keeping you engaged in its otherwise uninteresting storyline. Sajid-Wajid can easily include this film in the list of their better works as the duo's music truly remains the only hero in TMK unarguably.

So you can go for it, in case you love watching your favorite actors doing the same routine song-dance-drama on the screen in a feel good script without any basic storyline. It does have some cool, lovable moments in its 3 love stories happening in 3 different eras. But at the same time TERI MERI KAHAANI is also one of those unexplainable films which strongly forces you to think that 'How could a lackluster script of this kind get approved by such renowned and image-conscious Stars of the current times?" or "Do these actors ever read the script on which the film is supposed to be made or not?

The only truly decent thing to say about Teri Meri Kahaani is that the lead actors performed their roles well. The film actually encapsulates three stories in one, and therein lies the problem. There are three main issues with the film that make it unsatisfying in every way.

The main problem with the film, and where the whole premise falls apart is that there is no true thread to tie these stories together. Without some common theme (aside from a very loose boy meets girl connection), the only thing that differentiates these stories is the time period (Set in the 60's, present day, and 1910). The second major problem is that despite trying to flesh out three stories entirely in two hours, Kunal Kohli does not give enough flesh to any of the stories in order to make you really enjoy them. The only story with any meat in it as well as having characters who are not completely reprehensible (the one set in the 1910's) is given as much or less screen time as the boring tale set in the present day. Finally, the movie fails in a big way as, with the little character development that we are given, we are urged to loathe or at the very least not care about most of the characters involved. Either Priyanka or Shahid's characters or both are cast in an unfavorable and somewhat confusing light in each of their various avatars, and, despite being so horrible and with so many issues, their stories just abruptly end in a way that is extremely unsatisfying to the viewer. The two rays of light for this picture are the beautiful Urdu poetry segments and songs and the refreshingly able Prachi Desai who shows in only a few minutes worth of screen time that she has true acting talent. That, however, is not enough. I would strongly recommend passing on this one as it will likely leave you completely unsatisfied.