In all this, we keep our eyes on Sara Ali Khan, the newest star kid on the block. But none of these elements, which could have lent substance to the film are elaborated on: they are touched upon, and forgotten.
Tempers are shown running high, and the fissure between Hindus and Muslims getting deeper. Mansoor is the ‘pithoo’ (a porter who helps pilgrims get to the shrine by carrying them on his back) who catches her eye, and they spark.īut soon, melodrama overtakes them the plot reveals its creaky bones, and the treatment becomes a dismaying throwback to the socials of the ‘60s and ‘70s in which the enraged fathers would declaim loudly, the mothers would wring their hands, and the villain of the piece would gather his forces to pulp the poor hero.Ī bit of environmental consciousness is bunged in, pointing to the growing greed of locals who want to keep building, and ruining the pristine beauty of the mountains. And their meet-cute is refreshingly un-drippy. Mukku, spunky younger daughter of a priest (Bharadwaj) keeps an unwanted suitor (Dahiya) at bay, while trying to be a pillar of support to an unhappy older sister (Gor). The names Mukku aka Mandakini and Mansoor have a nice ring to them. So is Kedarnath that perfect love story? By rights, the debut film of Sara Ali Khan (herself a product of an inter-faith marriage) in which she plays a Hindu girl in love with a Muslim boy, played by Rajput, should have been just the film.