Chandigarh Kare Aashiqui is a lighthearted portrayal of a serious issue, and the film tackles its characters and narrative accordingly.
Ayushmann Khurrana began his Bollywood career as a sperm donor in Vicky Donor. He has appeared in projects where he has gone bald, played gay protagonist, and portrayed a man with erectile trouble. Challenging ideals of ’masculinity’ and attempting to achieve something ‘hatke.’
Chandigarh Kare Aashiqui, directed by Abhishek Kapoor, has a lot of testosterone flowing through veins. Manu Munjal, a gabru jawan from Chandigarh, promotes himself as a professional fitness provider. His life revolves on dumbbells, diet, protein drinks, and gym pals.
Soon after, a Zumba teacher is recruited for the gym, appropriately dubbed ‘Jatts Flex It.’ Maanvi (Vaani Kapoor) is a statuesque beauty who attracts attention. Manu, a weightlifter, is drawn to her, but Maanvi has a background that she believes Manu cannot manage.
The love tale is tied up with the protagonist’s family aspect as its backdrop, and it adds much-needed padding to the plot, making it accessible to a larger audience. Subplot involving Ayushmann’s sisters seem a little far-fetched, since their excessive actions and abrupt change of demeanour are not supported in the story. The writing, particularly in the first half, could have used a little more levity. The ending is also cliché, as we’ve seen in hundreds of sports dramas, but despite this, you leave the theatre with a grin on your face, which is all that one needs after going through the ordeal of the epidemic.
The editing is sharp, as all the elements–from the buildup to the conclusion – are wrapped up in a condensed timeframe of 1 hour and 57 minutes. Screenplay is fast-paced and has enough musical help, since most of the songs, rather than being an impediment, serve a part in moving the tale ahead. The production qualities are excellent, and they are in keeping with the script’s requirements.
A trans lady and a desi fall in love. Johnny Bravo is a fantastic notion that may be explored in a variety of ways. This might have been a different film, for example, if a trans actor had been cast in the part, or if the emphasis had been entirely on Maanvi’s change rather than the love element.
The first time Manu hears all about Maanvi’s past and gender reassignment, he storms out screaming. He is repulsed because he made out with Maanvi who, in his eyes, is ‘a man. His family and friends use bad words – the homophobia and transphobia that we have unquestioningly accepted. Chandigarh Kare Aashiqui makes its mark softly, slowly lifting the cloak off the characters and their sexism while keeping the entertainment and glamour quotient in place.
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So, there is song and dance, an uber glam heroine and the camera that lingers a tad longer on her curves to stress her assets.The script by Kapoor, Supratik Sen, and Tushar Paranjpe, as well as the plot idea by Simran Sahni, tackles the problem in an easy flowing, appetising manner for a family audience.
Manu bursts out screaming the first time he learns about Maanvi’s history and gender transformation. He is repelled by the thought of having slept with Maanvi, whom he considers being a ’man.’ His relatives and acquaintances use insulting phrases, demonstrating the homophobia and transphobia that we have unquestioningly internalised. Chandigarh Kare Aashiqui delivers its message quietly, gradually taking the veil away from the characters and their intolerance while maintaining the amusement and glamour element.
Through Chandigarh Kare Aashiqui’s 117-minute length, Kapoor’s grip as a storyteller seldom breaks, which is why it remains healthy and delightful. So there’s song and dancing, an ultra-glam heroine, and a camera that stays just a little longer on her curves to highlight her endowments.
Vani’s Maanvi is a really beautiful woman. It’s simple to see any guy falling for her. There is no doubting that Chandigarh Kare Aashiqui attempts to smooth out the rough edges and provide us with a more polished version of a far more stark and brutal truth.
Maanvi’s financial comfort and good looks put her in a privileged position (the contentious ‘passing privilege’) and make us question how tough and different her circumstances would be if she didn’t have these adornments. However, Kapoor does not sacrifice the depth and empathy necessary to approach a subject like this for easy chuckles.
For performances, Ayushmann Khurrana is in his element from the first scene and explores many hues flawlessly. He is terrific in one scene in the coffee shop (without giving too much away), which serves as a trigger for his character makeover. He is always dependable. Vaani Kapoor steals the night with what is by far the finest performance of her career. She nails all the emotions and is natural in all the scenarios, from lighthearted to romantic and heartbreaking. Kanwaljit Singh, Karishma Singh, Girish Dhamija, Satwant Kaur, Aanjjan Srivastav, Goutam Sharma, Gourav Sharma, Tanya Abrol, and Sawan Rupowali play their parts well.
Vaani imbues her role with genuine dimensions of emotions. Vaani imbues Maanvi with the calm dignity that the part deserves, as a lady, apprehensive of how she would be seen and striving to live her life by her values. Ayushmann performs like a Punjabi gabru on his own turf and never hits a wrong note. His hours with his pals, excellently done by twins Goutam and Gourav Sharma, are also a lot of fun to watch.
What you get is a two-hour sad yet joyous picture that clings on to something vital despite all of its good-natured fluff. Chandigarh Kare Aashiqui Against all odds, I pull for. Aside from commercial success, it is hoped that it would help move the needle of empathy for a notch or two.
