The primary standard Hindi film that, fairly tremulously, introduces the topic of same-sex love, Ek Ladki Ko Dekha Toh Aisa Laga is anything but difficult to identify with and handle in spite of, or might owe, its basically disinfected facade. It sails to strange parts and ventures miles, however it does as such without causing trouble too savagely. At last, it is a touchy, delicate and humor-bound drama that pivots as much on the connection between a forlorn, misjudged residential area Punjab young lady and her gushing dad as on the courageous woman’s sexual introduction, which drives her into a hard to-break shell.
Screenwriter Gazal Dhaliwal (who has additionally written the prominently relatable discourse) and executive and co-author Shelly Chopra Dhar bestow a sophisticated agreeability to the story, which springs its astonishments without appearing to be excessively radical in its depiction of sexual orientation character and homosexuality. Thoughts like bimari (sickness), typicality and family respect are summoned more than once and beyond all doubt, and a lady’s inward strife as she battles for the directly to lead her life all alone terms is treated with limitation and compassion. The film’s even tone is improved by the limited exhibitions from the key individuals from the awesome gathering cast.
The nature of the composing is best exemplified not just by the way in which Ek Ladki Ko Dekha… pricks the imbued predispositions of the female hero’s family, verbalized principally by the explosions of an excessively forceful senior sibling (played with noteworthy elan by Abhishek Duhan), yet additionally by the steadily constructive outcome that the unfurling story has on the gathering of people.
At the point when the champion turns out – first with an inquiry (Zaroori hai kya mujhe ek munde se hello there pyar ho?) and after that with a firm articulation (Main ek ladki se pyaar karti hoon. Period.) – the clueless man who is besotted with her breaks into smashed giggling. One presumes even the group of onlookers does only that, if not discernably. The sweetheart rushes to lament his careless response. The gathering of people takes somewhat longer to warm up to the young lady’s battles yet begins to see (a long time before the peak) the point that the film is making.
Battling dramatist Saahil Mirza (Rajkummar Rao), the intemperate child of a film maker who taunts him for straying into the flimsy universe of theater, pursues his dream, Sweety Chaudhary (Sonam K Ahuja), from Delhi to Punjab’s Moga town and keeps running into her customary specialist father (Anil Kapoor) and his family and a ‘mystery’ that annoys every one of his arrangements. A play-inside a film gadget conveys to the fore since quite a while ago smothered substances and powers the family, nay the whole town, to stand up to its preferences.
Anil Kapoor, as usual, gets totally into the swing of things and livens up the film with his essence. Sonam, very much served by the angularities of a screen persona that keeps arrogance under control, extends a persuading mix regarding defenselessness and declaration such that no one but she can. Rajkummar Rao is as astonishingly pitch-impeccable as ever. It takes a really certain on-screen character to fight the temptation to bite up the scenes he is in and rather subsume himself totally in the quintessence of the film. Juhi Chawla is a flat out enjoyment, a brilliantly enchanting scene-stealer.
Indeed, every one of the real characters in the film profits by immaculate throwing. Seema Pahwa, as the lady responsible for the Chaudhary family kitchen, and Brijendra Kala, playing the nosey family unit jack of all trades, offer awesome lighthearted element, as does Madhumalti Kapoor in the job of the matron who experiences considerable difficulties keeping her single man child, a pieces of clothing industrial facility proprietor who still laments not having understood his fantasy of becoming wildly successful as a gourmet expert, far from the kitchen and cookery appears.
Upset desires are at the core of this story and it isn’t just Sweety whose life is soured. The character attempted by Juhi Chawla, a little time Delhi cook who supplies nourishment to a theater troupe, sustains the expectation of one day getting to be what she has for a long while been itching to be – a performing artist. In these little stories woven around the bigger critical one of a young lady urgent to be comprehended and acknowledged for what she is, the screenplay maneuvers into its overlay an overall truth that gazes us in the face: we are all ‘extraordinary’ and need the space to wind up who we want to be.
With regards to a business filmmaking custom that has as a rule been shockingly wanton of LGBTQ sensibilities, Ek Ladki Ko Dekha… is a whiff of natural air, a colossal jump forward from 2008’s Dostana. It doesn’t look to get merriment and triviality from the topic, offering rather a sincere, proud portrayal of the demonstration of turning out in a moderate society.
The story is basic enough and is told in a way that could be blamed for being excessively virtuous – the equivalent sex darlings grasp a couple of times yet they don’t as much as plant a kiss on one another’s cheeks, not to mention lips – yet the film accomplishes something far greater than a Bollywood swarm pleaser can. Ek Ladki Ko Dekha Toh Aisa Laga is a critical film as a result of its provenance (it originates from Vidhu Vinod Chopra’s generation stable) and furthermore in light of the help of Bollywood on-screen characters who’ve challenged. The glow and wry mind that the film is framed in improves it that much.