Undoubtedly the winner of Anurag Kashyap’s patriarchy and privilege pooh exercise is Amit Trivedi and Shellee’s spirited soundtrack, notes Sukanya Verma.
Towards the end of a dull and aimless journey in search of (DJ) Mohabbat, a teenager laments the point behind the exercise with no “plan” or “purpose”.
It is an apt summary of the quintessential confused youth at this turning point in life – an inevitability whose music is doping, romantic GyaanThe opening monologue from the eponymous podcaster (Vicky Kaushal) anticipates when she acknowledges that society hasn’t taught us to be vulnerable, while adding Gulzar’s lovely line from Kamoshi: ‘Sirf ehsaas hai yeh rooh se mehsoos karo.’
Unlike Anurag Kashyap’s violent explorations of crime and class, Fast Pyaar with DJ Mohabbat conveyed about the fragile but idiosyncratic language of youth, spoken by a generation that sees self-expression as a second skin in a world of intolerance and instant gratification.
Just because its protagonists are close to adulthood, don’t expect Kashyap to wash the screen with bubbly hues and amorous eyes.
The truth is that the film works best when it stays close to its gritty worldview and indie film aesthetic, where parents are hostile figures and reckless impulses are the only compass for a couple unaware they are a – Couple needs.
Told with excessive abandon and unpredictable energy, his two parallel stories of ‘pyaar ko pyaar hello rehne do koi naam na do‘climbing to bare universal hold of patriarchy’Ganghor Connections” that come about in Dalhousie and London.
While the idea behind developed, liberal minds not always associated with education or economic stature certainly debunks myth, Kashyap struggles to bridge the gap between his social commentaries on love-jihad.
As consequence, Fast Pyaar with DJ Mohabbat comes across as wildly fragmented with a short attention span.
In Dalhousie, high school student Amrita (Alaya F) and neighbor’s Muslim boy Yakub (Karan Mehta) bond over Maggi and music.
All hell breaks loose as they elope in the early hours to catch DJ Mohabbat’s concert in Manali.
Resembling a shaggy ’80s boho pop idol, DJ Mohabbat is a master of many trades – a social media talent, a podcaster, a DJ, a poet, a hippie, an underground celebrity, a rebellious messiah, the pearls dishing out wisdom about love, life and music, but outliers enough to deny the police permission to perform.
Vicky Kaushal conveys the style but not the madness for the role. His warm aura dilutes whatever mystery, charisma, and mania he is said to enjoy among his fans.
Back in London, poor little rich girl Ayesha (Alaya F) can’t understand why dal chaval-eating local club musician Harmeet (Karan Mehta) won’t turn her on.
It’s a circuitous, bizarre arc trying to say something about flawed people and fatal attractions in the course of migrant woes, culture clashes, fathering issues, homosexuality, and prison rape.
Wayward nonsense saved by Amit Trivedi’s score and Shellee’s words, that’s it.
In contrast to the superficial conflicts and disjointed actions that take place in the British capital, the Himachal pieces exude a certain charm while dwelling on the selfie-obsessed era in which mobile phones are both means of communication and a creative revolution.
‘Phone ne bigaad diya hai bachon ko‘ grumbles a typical one desi Mummy.
“She may not have her daughter, but Amrita knows the author who inspired her name well, and channels her pent-up fear of patriarchy in TikTok-style videos in hijab-clad Saloniammi garb, much like Nazma Aapi of the comedian Saloni Gaur.
Kashyap’s Gen Z daughter Aaliyah, herself a social media whiz, has given her dad some input for authenticity.
The come-as-you-are tone of her YouTube channel, podcasts, and Instagram reels is evident Fast Pyaar with DJ MohabbatIf only it were half inhabited.
Unless one paints an unflattering, uneven picture of the standard-bearers of the future, confusing superficial gestures with self-affirmation, Fast Pyaar with DJ Mohabbat gets its highs from the unwavering magnetism of Alaya F.
Unlike the free-spirited Amrita, who is sensitive to her surroundings, Ayesha’s hasty decisions and desires carry no consequences. While the film struggles to find its rhythm, Alaya remains impressively calm and one with her characters. Only three films old and already what an exciting performer! I can’t wait to see more from Alaya.
As for debutant Karan Mehta’s Ranveer Singh Meets Ashton Kutcher, there’s a thoughtful intensity about him that sticks far better than his willfully goofy laugh.
Undoubtedly, the winner of Kashyap’s patriarchy and privilege pooh-pooh exercise is Amit Trivedi and Shellee’s spirited soundtrack.
They capture not only the sound of modern love in all its fiery moods, but also the timeless hope that fuels it generation after generation – mohabbat se hi toh kranti aayegi.
There’s almost nothing to that.
Fast Pyaar with DJ Mohabbat Review Rediff Rating:
