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Gehraiyaan' Posters Out With Release Date : Deepika Padukone, Siddhant Chaturvedi Share Sizzling Hot Chemistry On 'Gehraiyaan' New Posters

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Movie Info:

Full Name: Gehraiyaan
Language: Hindi
Release Year: 2021
Size: 400MB, 700MB & 2.82GB
Quality: 480p, 720p & 1080p
Format: Mkv
Director: Shakun Batra
Writers: Shakun Batra(story), Ayesha DeVitre(screenplay), Sumit Roy(screenplay)
Stars Deepika Padukone, Siddhant Chaturvedi, Ananya Pandey

Storyline:

The trailer opens with 30-something Alisha (Deepika Padukone) fighting with her husband Karan (Dhairya Karwa) as she isn’t feeling happy in her life. She finds herself caught in her monotonous life to make a living since her husband isn’t supportive enough and doesn’t earn anything. Enters Tia (Ananya Panday), Alisha’s cousin and her fiancé Zain (Siddhant Chaturvedi), who have a relatively plush lifestyle with yachts and better money.

The story further unfolds into Zain and Alisha having an affair and how it further creates a clash between them and others as everyone gradually gets to know about the duo. Turning into a love triangle, Gehraiyaan dives deep into the life of the characters as all of them find standing themselves at complex crossroads of life.Partially produced by Karan Johar, the film is indeed giving Dharma vibes all through. Apart from KJO, Gehraiyaan is backed by Viacom18 Studios in association with Jouska Films. On the other hand, Shakun Batra is the director and one of the makers as well. Meanwhile, talking about the cast, Gehraiyaan also has ace actors like Rajat Kapoor and Naseeruddin Shah in supporting roles.

Review:

Gehraiyaan, a new Amazon original film starring Deepika Padukone, Siddhant Chaturvedi, and Ananya Panday, is a textbook example of a film that is all over the place in every way. As the Gehraiyaan teasers and songs have hinted at, the film begins as a romantic character drama with a happy ending. During the course of the film, an aimless lady (Padukone) is forced to choose between two men with diametrically opposed views, while a man who takes no prisoners (Chaturvedi) attempts to have it all while juggling two worlds However, during the course of its bloated 133-minute duration (without credits), Gehraiyaan morphs into a different beast, becoming increasingly plot- and event-driven. The Gehraiyaan actors and director Shakun Batra have referred to the film as “domestic neo-noir,” yet it is not that at all – Gehraiyaan exhibits none of the characteristics of the neo-noir genre. It’s just a bad piece of drama.

To be honest, Batra’s guidance is not to blame for the situation. The 39-year-old actor does a good job with the character work and adds small little touches that make the film more interesting. His decision to shoot on location — Gehraiyaan travels between Mumbai and Alibaug, as well as on a yacht in the Arabian Sea — and the production design by Abid T.P. (Moothon) give the Amazon film a lived-in feel that makes it more appealing.
However, it is the decisions made in the writing that finally sink it. In Gehraiyaan, Batra collaborated with regular collaborator Ayesha DeVitre (Kapoor & Sons, Ek Main Aur Ekk Tu), as well as Sumit Roy, who is currently working on two future movies for Karan Johar’s Dharma Productions (Takht, Rocky Aur Rani Ki Prem Kahani). Batra and DeVitre are operating in a completely different realm on Gehraiyaan, one that is very apart from the broad-brush family drama that is Kapoor & Sons.

Batra and his associates force Gehraiyaan in an abnormal path for motives that I cannot grasp. Films need to seem constant in the worlds they create — and for about 100 minutes, this one does that well. It is the world of Gehraiyaan that is filled with millennial men and women who are attempting to find purpose and happiness, dealing with childhood traumas and things that were left unsaid, and navigating some difficult moral dilemmas. Gehraiyaan, on the other hand, quickly loses itself in what can only be regarded as a point of no return shortly thereafter. Its universe is shattered, everything is out of control, and it loses control and falls overboard (in one instance, quite literally). Being able to make it through Gehraiyaan’s final half hour seems like suffering from a bad case of whiplash.

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Unfortunately, Batra didn’t need to take the plot to such extremes as it eventually does, which is a disappointment. Gehraiyaan might have been a storey about ordinary people and ordinary events, which it is for the most part throughout the first half of the film. However, the third act of the new Indian Amazon film becomes more dreadful — until falling to a final-shot surprise that completely destroyed all of my positive recollections of the picture. In the end, Batra decided to delay Gehraiyaan by a couple of weeks, when it was initially scheduled for Republic Eve, because he was still finishing up the last touches on his film. But it’s evident today that the project needed a far more comprehensive rethink at an even earlier stage.

The storey of Gehraiyaan centres mostly around the lives of the two people listed above. Alisha “Al” Khanna (Padukone) is a 30-year-old yoga instructor who has been in a six-year relationship with Karan Arora (Dhairya Karwa, from 83), who quit his lucrative ad copywriting job to become a struggling and unemployed novel writer. Alisha “Al” Khanna (Padukone) is a 30-year-old yoga instructor who has been in a six-year relationship with Karan Arora ( Alisha feels stuck in life; her work isn’t progressing, and she believes she is tethered to her lover by a single thread. Zain Siddiqui (Chaturvedi, from Gully Boy) is a real estate entrepreneur who is engaged to Alisha’s cousin Tia “Tee” Khanna (played by Alisha’s cousin Tia Khanna in Gully Boy) (Panday). Alisha and Tia grew raised in close proximity to one another, but Tia is really closer to Karan because they studied together in the United States. As Alisha explains early on in Gehraiyaan, she is acquainted with her cousin through her boyfriend’s family.

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Having just returned to India, Tia asks Alisha and Karan to join her and her husband for a weekend at their coastal villa in Alibaug, Gujarat. It is via this circumstance that Alisha and Zain’s paths intersect for the first time — and it is through this circumstance that they learn they have more in common with one another than they do with their respective beaus. For starters, they both enjoy the idea of being perceived as outsiders. They are similarly similar in that they both have experienced a catastrophic event in their lives. And despite the fact that he’s now in fiancée territory, Zain can’t seem to stop himself from flirting with Alisha on a regular basis. You already know where this is headed — after all, the Gehraiyaan marketing machine has already informed you of its intentions. All of the issues that result from Alisha and Zain seeing each other behind Tia and Karan’s backs are understandable. Despite the fact that it is more than you may imagine.

An interesting side note: a lot has been made of Gehraiyaan’s personal sequences, which is ironic considering that there isn’t a single sex scene in the film. There’s a lot of kissing, but that’s about all there is.

The opening 30 minutes or so of Gehraiyaan are the most enjoyable, and Batra does a good job of developing the characters throughout this time. Padukone’s character appears to be the most developed. She goes through life in slow motion, never quite ready to take command, and she has convinced herself that she has the worst of fortune. It might be a coping method for you. Despite the fact that Alisha does not want to wind up like her mother, who felt stifled in her own relationship, by reminding herself of this truth on a daily basis, it’s almost as if she is wishing it to be so. Padukone portrays Alisha as insecure and a little resentful, which is a fair portrayal. Some of this is evocative of Joachim Trier’s great picture of a woman in her twenties who isn’t sure what she wants to accomplish with her life, The Worst Person in the World. However, it ceases to be that movie after that.

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Following the first act, which is mostly recounted from Alisha’s point of view, the majority of the second act is devoted to developing Zain’s character. Even though Chaturvedi gives Zain a cheeky and dangerous edge, I couldn’t help but feel that the character had slipped into generic terrain. Gehraiyaan is clearly motivated by the need to demonstrate that the person who takes what he wants is a symbol of toxic masculinity in today’s society. When forced into a corner, Zain is not beyond gaslighting his loved ones and refusing to accept responsibility for his actions. However, it is also at this point that Gehraiyaan is pulled into superfluous narrative beats — which not only extend the film’s running length, but also distract from what had been a compelling investigation of human nature up until that point.

Gehraiyaan becomes entangled in quicksand in the same way as Alisha did. A song is played approximately every 10 minutes or so for the majority of the second act. It happens every time — with the exception of one — when Batra tries to advance the tale in time. It has the appearance of being a ruse. (It is also, without a doubt, a marketing ploy.) After all, the purpose of Bollywood songs is to promote the film. They are rarely used to further the plot of the movie itself.) A musical montage is used instead of a serious moment since Gehraiyan is unable to compose scenarios that would drive the characters in a meaningful way.

The most pointless thing, on the other hand, is the critical moment I’ve alluded to, which causes Gehraiyaan to careen and plummet into an abyss. Furthermore, it is predicated on a character purposefully behaving in a stupid manner, which undermines the entire film. Naturally, it has the appearance of being artificially manufactured — as if the writers are pulling the strings.

Speaking of artificiality, the ADR process — known informally as dubbing in India, where it has a long history in the film industry — may feel unnatural at times and takes you out of the scenario you are seeing. You can tell when an actor has spoken over their own lines because the performer’s voice is different. Lastly, in terms of technical problems, there is some exceptionally bad CGI, as well as some strange Dutch angles from the camera.

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The cinematography, on the other hand, is exquisite and harsh, thanks to Kaushal Shah (Mumbai Diaries 26/11). Don’t be concerned, it’s not a combination. It’s not uncommon for Batra and Shah to get into their actors’ faces during emotionally charged scenes, but the couple also takes a step back to show off their idyllic lives, which usually include relaxing on a yacht or by a beach-house pool.

At the end of the day, Gehraiyaan is a jumbled film — one that begins with a flourish at basecamp only to find itself climbing the wrong mountain. The fall is not kind to anybody. Gehraiyaan suffers even more as a result of the expectations that it has set for itself. Dharma and Amazon’s marketing engine marketed the film as a full-on love drama since they were in a position where they didn’t know how to sell it without giving anything away about its plot. I’m not arguing that the trailers are deceptive, but they do leave out a lot of information. The impression that spectators have of the movie before they start watching it is not the impression that they have of the movie during the majority of its duration. This isn’t entirely the fault of the film, but Gehraiyaan does not appear to be able to pull off the transition so readily. Instead, it sinks to the bottom of the ocean, and when it resurfaces from the depths, it has lost all of its vitality.

Gehraiyaan premiered on Amazon Prime Video on Friday, February 11 at 12 a.m. IST, and is now available globally.