Ishkq In Paris is a new, foamy feel great film, which makes you grateful for that thing called love.
- Rating : 1
- Genre : Romantic
- Cast : Preity Zinta, Rhehan Malliek, Isabelle Adjani, Shekhar Kapur
- Director : Prem Raj
SPOILERS AHEAD
Story
Love, as the sages state, is a many-splendoured thing. You can take a gander at it as an occasion for pressure and grievousness (which is the reason we fall, never rise, in affection). Or on the other hand love can be a celebration of life.
Director Prem Raj’s presentation film Main Aur Mrs Khanna investigated love during times of infidelity. On this occasion (Ishkq In Paris) he takes off in a Parisian paradise where two outsiders, both single attractive and commit-phobic, go through the night together.
Actually no, not doing what you think in your dirty minds. They meander the cobbled mysterious pleasurable paths of Paris in pursuit of a decent time and afterward decide never to meet again.
Twist
If you’ve perceived how Kareena Kapoor influences the calm, staid and subdued Shahid Kapoor in Jab We Met, you’d realize that feminine richness is a hard aphrodisiac to resist, especially if you are a storage room romantic like Akaash (Rhehan Maliek) who in no time by any means (first five minutes of this crisp and delightful slice of affection life comedy) is eating out of Ishkq’s beautiful hands.
Ok, Ishqk! She is that kind of a girl. Half-French and completely desi, Ishqk fills up the frames with an unbridled joie de vivre. I can’t think of a job better written for Preity Zinta. Missing from the screen for a few years, she bobs back with a presentation that derives its zing and shimmer from the on-screen character’s inbuilt pizzazz.
Preity takes her character Ishqk past her own personality. From frame one we see Ishkq as a girl caught in self-deceptions that leave her unnecessarily careful about relationships. Ishkq hides her genuine emotions in romantic unresponsiveness. This is not the first time Preity plays a quelled character. In Nikhil Advani’s Kal Ho Naa Ho, Preity needed to make an ‘exhibition’ of her character Naina to bring out her commitment phobia without a dad, who surrendered her when she was youthful.
Songs
Here in this Parisian praise to everything romantic, Preity’s character blooms before us without props but then looking immensely fetching. It is a non-accessorized execution, exceptionally basic and liberated from fake.
Preity brings out the highs and lows in her emotionally inundated character without taking ostentatious jumps of on-camera conceit. It’s a beautifully written and directed part, loaded with restrained resonances that give the on-screen character an opportunity to give her skills in inconspicuous manners.
Rhehan as Preity’s ‘other’ gives the entertainer the perfect prompts. Confident but then not presumptuous, Rhehan appears to be poised for a satisfactory innings in Hindi films.
Performances
Looking at how well Rhehan accomplices the screen-filling Preity on the screen, one miracles if this big-hearted romantic-comedy would have worked with some other two entertainers! These two may not be frantic for one another (in any event, not until we leave them toward the finish of the film). Be that as it may, by Cupid, they are definitely made for one another!
Prem Raj permits the couple a lot of room to let their feeling inhale openly and easily into the narration. The two protagonists might be in a rush to get somewhere, the film is most certainly not.
The exquisite camerawork by Manush Nandan moves languorously through the neon-lit seductive night-life of Paris and the daytime clamor of the road side bistros without getting into touristic wonder.
One shot where Preity treats Rhehan to the wondrous sight of the considerable number of lights coming alive in the Eiffel Tower remains with you. If no one but love could be caught and solidified in its most majestic manifestations!
Conclusion
Interestingly the narration is fashioned like a tale with the incredible French on-screen character Isabelle Adjani telling us about Ishkq’s brief experience with Akaash and its result without letting us in to her own job in the sentiment. It’s an adorable little mystery avoided us for some time in a film where the main protagonists play out their emotions in full view and with disarming straightforwardness.
Preity, Paris and Prem Raj whip up a souffle sentiment. Crisp, foamy feel better and, indeed, look great, and with a solid inclination of emotional frisson to guide the romantic tale to its endearing culmination Ishkq In Paris makes you grateful for that thing called love. The tone of narration is unmistakably European.
Welcome back, Preity. Furthermore, truly, bon appetite to all moviegoers. Go, take care of.
tamilrockers 