The only thing I can unconditionally recommend in Raabta is its music. Although, to be honest, even Denzel Washington couldn’t save this film. It’s a shame because Sushant has proved himself to be a really competent actor. But they’re not playing particularly likeable characters so it’s hard to care for what happens to these people beyond a point. Sushant and Kriti have good chemistry together and some of their early scenes are fun. My heart bled for poorRajkummar Rao, who is buried under layers and layers of prosthetics to play a disfigured old man in this portion of the film. I’d rather not tell you too much about these characters and the dynamics of their relationship in their previous incarnation, but you’ve probably seen the trailers and you know that they’re styled like tribal-warriors with really cool hairstyles.
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Jim plays Zakir with just enough mystery and a hint of eccentricity, until the last act when he goes full psychopathic villain on the lovers. Here he’s cast as Zakir, a millionaire businessman whom Saira is briefly drawn to. There’s also Jim Sarbh, who was so good as the hotheaded leader of the hijackers in Neerja last year. The other thing she brings with her from that previous life is her tendency to switch boyfriends faster than Taylor Swift. Kriti’s character Saira runs a chocolate shop, and she is plagued by nightmares of drowning from, as it turns out, her past life. Sushant is basically playing the Saif Ali Khan role in every Yash Raj/Dharma film from the early 2000s, except that Sushant is never as smooth, and his Shiv comes off as a tad creepy instead of charming. The film, directed by Dinesh Vijan, opens in Budapest where Sushant’s character Shiv, a self-described ‘player’, makes the moves on anything and everything in a skirt until he encounters Saira (Kriti), with whom there is an instant and lasting connection. The whole theme of rebirth is so superficially and simplistically justified, it makes Karan Arjun feel like Inception in comparison. Oddly, it’s not even as emotionally charged as films of this genre tend to be.
There’s no deeper layer, it has nothing profound to say. The premise is fairly basic: unfinished business in a previous life reconnects three people in the modern day.
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