Directed by: Abhishek Kapoor
Starring: Sushant Singh Rajput, Sara Ali Khan, Mir Sarwar, Tarun Gahlot
Genre: Adventure, Drama, Fantasy
Release date: 07 December 2018
Running Time: 116 Minutes
A Hindu-Muslim love story, Kedarnath portrays how a Muslim pithoo saves a Hindu tourist from the Uttarakhand floods at the pilgrimage, and the love that eventually develops between them.
Kedarnath is a 2018 upcoming Indian Hindi-language film written, and directed and co-produced by Abhishek Kapoor. It features Sushant Singh Rajput and Sara Ali Khan in the lead roles.
The film’s production began in June 2017, and principal photography commenced on 5 September 2017.
The film’s principal photography began on 5 September 2017. The first motion poster of the film released on August 19, 2017. The first look of Sara Ali Khan came out on October 8, 2017.
Singh’s portions of the shoot was completed on 16 June 2018.
In February 2018, a dispute between director Abhishek Kapoor and the producers KriArj Entertainment led to a lawsuit that threatened the completion of production. The producers later clarified their intent to continue production.
The film was scheduled for release in June 2018, but was postponed to 7 December 2018. The official poster of film released on 29 October 2018.
The Official teaser was released on 30 October 2018.
The songs of the film are composed by Amit Trivedi while lyrics are written by Amitabh Bhattacharya.
Kedarnath Movie Trailer:
Kedarnath Movie Review:
She’s the daughter of a pundit in Kedarnath, he’s a porter who assists pilgrims who can’t make the climb on foot. “Naam kya hai?” she enquires. “Mansoor,” he answers, confidently. “Inka,” she says, sternly, pointing at the mule she’s riding. And suddenly, he feels like one. Clearly, she’s more kittenish than she can help, and his reticent ways make this a delicious mix. But surely, there has to be more than that to make this tick.
The jaded construct of throwing two people from diametrically different worlds and hoping they’d be drawn if not fascinated by the other’s niceties may have worked from Jab Jab Phool Khile to Raja Hindustani but in 2018, it doesn’t cut it. Luckily, our lovers here inhabit the same space – a pilgrimage perched dangerously on a mountainous slope – wherein rivers roar down like arteries following an angioplasty. Mukku is the daughter of a local priest and lodge owner (Nitish Bharadwaj) and Mansoor is a porter. When Mukku and Mansoor cross paths and she literally gets to ride his mule, we know it’s going to spell trouble. Apart from the inevitable Hindu-Muslim issue, the story furnishes blatant figures of a forbidden love story such as an obvious villain – who also happens to be Mukku’s papa-approved suitor. In fact, Kapoor goes on to stick to the ghisa-pita formula—the lovers are exposed—the boy is bashed up beyond recognition and the furious papa announces the girl’s wedding for the following day. And then, the clouds burst and ominous lightning warn us and the MET department, where a man takes an A4 size colour printout to his sweater-clad supervisor only to be ignored. A deluge of epic proportions is on its way and Mukku and Mansoor’s village will be flushed away in a matter of seconds.
There was a lot riding on Kedarnath. Kapoor who is yet to recover from the bruises he endured from Fitoor and Rock On 2, his last two duds, desperately needed to redeem himself. Following Singh’s last debacle, Raabta, even he could do with a shot in the arm. For debutante Khan, this was more of a career-defining moment. Of the three, Khan is the only one who shines. In every emotion, she manages to take it up a notch. When her Mukku is angry, hopeful, desperate or coltish, she often conveys it through her eyes alone – giving us a taste of the diverse faces she can throw on. Rajput seems to be struggling with his Mansoor here. Whether the character brief was scattered or there was much lost in translation, we can’t tell.
Amit Trivedi’s foot-tapping numbers lend some mood to the proceedings with Namo Namo being the best of the soundtrack. Cinematographer Tushar Kanti Ray deserves much credit for the many aerial shots that take in the valley in all its glory and the rumbling lakes pouring through it make for a scenic sight.
If one must watch a fictional account of a natural disaster, we can always turn to Hollywood blockbusters which have done it too well and too often. This just seems like watching an ’80s Hindi movie for an hour-and-a-half and then an ’80s shark movie for another 10 minutes.