Director: Abhishek Kapoor
Producers: RSVP Movies , Guy in the Sky Pictures
Cast: Sushant Singh Rajput , Sara Ali Khan
Public Review: Kedarnath
Kedarnath is a potent combination of love and religion, of passion and spirituality set on a 14-kilometer pilgrimage from Gauri Kund to Kedarnath – the 2000-year-old holy temple of Lord Shiva.
The movie are in theaters now and people are watching it. To know about how did the movie performed? Did the audience like the movie? We have come up with the public reviews shot by our BT reporter Harnidh Kaur.
It’s always very difficult to show such tragic and disaster movies on screen. As per the history of such movie in the Bollywood industry it’s has always created a mess in the plot with the disasterious input. There are many movie that have such a plot like in the movie Waqt where earthquake is been shown, in Kala Pathar there was coal crane crash scene, in Satyam Shivan Sundaram there is been shown floods scenes, the movie Tum Mile had rainfall and in the movie Bhopal express there was Bhopal gas tradegy.
These are some of the movie that people reminds when it comes to the distastes movie genre. The latest to join this movie list is Kedarnath, the movie is been inspired by the 2013 Uttarakhand floods. Now the question arises that will the movie bring out some thing different or will it have the same sort of story line as other movies.
Talking about the synopsis of the film,The screenplay by Kanika Dhillon, which touches upon pressing issues but does not follow through with them, takes its time in etching out the broad contours of the plot and the characters that populate it. It moves forward only in fits and starts. Kedarnath is a two-hour film, so the demand it makes on your time is reasonable. The special effects aren’t up to scratch nor is the screenplay, but do watch the film for Sara Ali Khan. The pleasure of watching a young actress who not only holds her own in her very first film but also reveals her long-term potential in no uncertain
Critic’s Rating: 2.5/5
I timed it. The ship hits the iceberg precisely an hour and 38 minutes into Kedarnath.
Sushant Singh Rajput invests Mansoor with an honest-to-goodness sincerity, playing him as something of a male Pollyanna for the most part. But it’s such a one-note character, there’s not a lot he can do with it. Kedarnath hits its stride when the metaphoric iceberg strikes. Or specifically, with the cloudburst, the floods, and the landslides. Horrific images of three and four-storey buildings coming down like a pack of cards as the ground gives way to the strong currents are still fresh in most of our minds when someone mentions the events of 2013.
The filmmakers recreate some of those images to good effect. Visuals of homes being washed away and families being ripped apart are especially chilling because you know this actually happened. The effects are serviceable, but the emotions run high. It’s in these final 20 minutes or so that the film genuinely makes you ‘feel’. The awe, shock, horror, and heartbreak are well earned.
Kedarnath ultimately falls short of living up to its promise, but I was happy to visit its world. The imagery is overwhelming, even if the writing feels laboured. I’m going with two-and-a-half out of five.
Critic’s Rating: 2.5/5
The films wants to be too many things – there is a running sub-plot involving Mukku’s sister. Abhishek and Kanika also bung in an environmental angle. The story is overwrought but under-cooked and the tonality, inconsistent. There is an effort to create a small town ethos but many things jar – like Mukku’s gorgeous outfits and jewelry. Even when it’s snowing outside, she’s wearing only a tasteful salwar kameez. At one point, her and Mansoor break into a synchronized dance at a friend’s wedding. Suddenly, the shy porter becomes a rockstar.
The second half has so much stuffed into into it that little makes an impact including the flood. The narrative races choppily from one disconnected scene to another at one point, we are in a tent at the Chorabari Lake with two characters we haven’t met till now. They are bunged in only to reveal the fury of the flood. As people and homes are swept away, the film strains to be suspenseful and poignant but it doesn’t quite get there.
Critic’s Rating: 2.5/5
The writing is not always coherent. There is no convincing reason why Mandakini is attracted to Mansoor Ali, no reason why she treks the mountain every day strapped on his back? Is she shopping grocery or plain dating and how come nobody in the region reacts to them even after the duo sing and dance at a friend’s wedding? Why does the village wait for the rainy night to talk about family honour?
Some dialogues are unclear, the climax elaborating on the floods and the rescue operation unnecessarily prolonged and the end scene ambiguous. Nitish Bharadwaj and Gautami as Mandakini’s parents are well cast. Sushant Singh Rajput as Mansoor carrying pilgrims on his back in the biting cold to the top of the mountain is underplayed and effective. Sara Ali Khan is the spice of Kedarnath; she has the poise of father/ Saif Ali and the spontaneity of mother/ Amrita Singh. Here is a complete natural, and what a relief to have a newcomer well versed with language and diction.
Critic’s Rating: 2.5/5
The Times of India:
For a love story, there are no romantic tracks that really hold your attention. Apart from the song Namo Namo, Amit Trivedi’s music doesn’t create the required mood for a love saga like Kedarnath. Director Abhishek Kapoor’s attempt to make a film set against the backdrop of a natural calamity of this proportion is ambitious and sincere.
The setting is what makes a difference, because the simple and predictable love story doesn’t really rose above the water level. The clever use of CGI mixed with live-action shots to depict moments like cloudburst and the pilgrim city submerging underwater creates an authentic impact. The execution in these areas, along with a memorable debut by Sara, is what keeps the film afloat.
Critic’s Rating: 3.0/5
Kedarnath starts off with the promise of being a modern, hypnotic celebration of religion, but quickly gets down to separating individual faith and belief from organised religion. At times films can acquire an unforeseen significance purely for when they are watched.
Seeing Kedarnath on December 6, the day in 1992 that, among other things, changed the social fabric of India, the overarching message resonated with me: that dividing people along religious lines will only lead to pralay (catastrophe). But, going by the online hate targeted against Kedarnath for being “insensitive” to the 2013 Uttarakhand tragedy and turning it into a metaphor, is a proof that we are content remaining blind to the bigger picture; that we are not far from disaster but sitting right on top of it.