REVIEW: In the opening sequence, a coy Sameer asks Nargis if she had agreed to marry him due to household stress and if she had a boyfriend that she nonetheless has unresolved emotions for. This Lucknow boy’s naivety appeals to Nargis. And earlier than it, the duo enters into holy matrimony and is drunk in love inside days of claiming ‘Qubool Hai (I settle for it)’ to at least one one other. In a distinct setting, writers Faruk Kabir (additionally the director) and Zaheer Abass Qureshi painting the sudden crashing of the world financial system and the way India grapples beneath its shockwaves. Needless to say, the lead pair too faces the brunt and each lose their jobs inside months of tying the knot.
Desperate, the couple applies for work to international nations just like the Sultanate of Noman by means of a sketchy job placement company in Lucknow. While Narigis’s work visa arrives, Sameer has to attend for 5 extra days. But all’s not effectively within the Noman paradise as Nargis makes a panic telephone name to her husband, claiming “nothing’s what it gave the impression to be” and that “she is being handled badly”. Something sinister is at play and Sameer is aware of it, and leaves house with the only mission of bringing his spouse again. Upon reaching, he’s confronted with the cruel actuality of his circumstances—Nargis is now within the clutches of the darkish alleys of flesh commerce. How is he going to avoid wasting her, and most significantly, the place is she?
As the identify suggests, ‘Khuda Hafiz’ is the story of a person’s love and eager for his beloved who’s confronted with an opposed scenario in an alien world. True, when specified by black and white, the screenplay exhibits immense potential and will have very effectively been a sport changer within the intense romance-thriller saga. But it’s not. Because of the ingredient of thrill and concern of the unknown, the primary half of the movie is considerably participating and for the primary half-an-hour or so, you’d wish to know what’s in retailer for these lovebirds. But that preliminary curiosity is quickly butchered by wishy-washy storytelling and a script that acquiesces to the fail-safe strategies sometimes administered in hit crime-thriller love rigmarole.
However, the best way writer-director Faruk Kabir manoeuvres this subgenre is, for the shortage of a greater time period, all too handy. For one, each different character that crosses path with Vidyut Jamwal’s Sameer is both a Pakistani, Indian or a Bangladeshi who’s both keen to assist this suspicious-looking vacationer or speaks fluent Hindi. Speaking of accents, Shiv Panditt’s Faiz Abu Malik from the make-belief regulation enforcement company ISA is totally distracting; not a lot for his appearing however for the pretend accent he places on and sometimes forgets to carry on to. An in any other case expert Aahana Kumra as detective Tamena Hamid lacks the aptitude and flamboyance she normally brings to her craft. The damaging issue of her character arc can be the accent: compelled upon, caricaturish and may have been carried out away with. Local cabbie and Jamwal’s wingman Annu Kapoor (taking part in the position of Usman Ali Murad) is personable in components and is entrusted with pushing the story ahead. Works to an affordable extent however then the bizarreness of the plotline overpowers Kapoor and he’s left within the backseat, hanging mid-air. The blossoming of their friendship doesn’t appear natural to say the least. And fairly frankly, neither does Shivaleeka’s and Vidyut’s. Just just like the second a part of the movie, the depth of their romance lacks conviction and defies logic even by love story requirements.
In motion sequences, Vidyut Jamwal is a sight to behold: packing punches, touchdown mighty kicks along with his veins popping and face throbbing. Between the 2, Vidyut is extra emotionally invested in getting the nuances of his character proper. Shivaleeka, however, seems drop-dead attractive because the small-town belle however her appearing chops want critical honing.
In Bollywood, the essence of affection is captured primarily by means of love ballads. And composers Amar Mohile and Mithun Sharma don’t disappoint. ‘Jaan Ban Gaye’, ‘Mera Intezaar Karna’ and ‘Aakhri Kadam Tak’ are absolute musical delights. The background rating, too, is one which intensifies the dread in critical scenes and softens the theme of fright in locations the place the duo is seen pining for each other.
‘Khuda Haafiz’ — literal that means ‘May God be your Guardian’ — doesn’t have essentially the most modern script on the planet nevertheless it nonetheless may have labored had it not been for the randomness within the second half and the outrageously sham Arabic accents. Watch it for Vidyut flexing his muscular tissues in essentially the most amusing manner possible, peeps!