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Laila Majnu: Movie Review

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Director: Sajid Ali

Stars: Tripti Dimri, Mir Sarwar, Avinash Tiwary


In any case, Sajid Ali’s interpretation starts with Laila (Tripti Dimri), a free-lively young lady who doesn’t modest from playing with folks and driving them on without a shred of blame. Until the point when she runs over Qais (Avinash Tiwary), a rich, spoilt rascal who succumbs to her at first sight. Their little dog love gradually comes full circle into extreme enthusiastic sentiment, just for them to understand that they are not bound to be as one in this world.

Imtiaz Ali and romantic tales once in a while run astray and with Laila Majnu, the man by and by acquires his Midas contact particularly in the last 20-25 minutes where the feelings achieve the crescendo. It requires a long time to subside into Sajid Ali’s universe of Laila Majnu. The film starts on an insecure note as you set aside some opportunity to warm up to his characters. At first, Trupti’s Laila abandons you with part of inquiries. Her conduct falls off a smidgen odd. Be that as it may, as minutes go by and with Qais’ entrance, things at last appear to fall set up. His charming amusement catches your consideration.

Be that as it may, it’s post interim when Qais’ change into Majnu starts, that you wind up immersed profound into this energetic romantic tale. The torment, the frenzy, the intensity…everything all of a sudden appears to be so genuine! Sajid Ali’s enamoring execution leaves a stamp! Talking about the exhibitions, Avinash Tiwary as Qais/Majnu is a genuine revelation particularly in the last 50% of the film.

There’s torment, yearning, deplorability, feeling and even visualization! Mind you, the emotions decline to abandon you even after the end credits. Watch out for the scene where a rumpled Kais wearing a pheran slips into craziness and breaks into ‘Hafiz’ (which implies in adoration, I have turned out to be nearer to God) after somebody tosses a stone at him! From an ecstatic Qais to a numbling insane person Majnu, Avinash is an entire disclosure.

To place it in Imtiaz’s words, ‘this film has not so much rationale but rather more energy’.

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