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Film review: Chandigarh Kare Aashiqui’s protagonists Ayushmann and Vaani are an adorable couple.


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Abhishek Kapoor’s unorthodox love tale takes place amid a hotbed of machismo, and it’s basically an examination of two people whose bodies have been given to them by the universe.

Despite the fact that our mythology and laws have started to recognize the plurality of sexual orientations, mainstream Hindi film continues to tell love stories that are as unbending as Manu Munjal’s newest leap of faith. Set in the heart of machismo, it is an unorthodox love tale about a man and a woman who are unable to fit into the bodies that nature has given them.

After his mother died, Manu (Ayushmann Khurrana), a bodybuilder and fitness teacher, sets out to overcome his shyness and create the greatest physique in town, but his softcore keeps him from achieving his goal.

It was Manvi Brar’s (Vaani Kapoor) goal to connect her anatomy and gender identity, but she was haunted by family and society’s indignities.
Even when Manvi tries to get the muscleman’s attention, Manu is oblivious to the fact that they are both in the same boat and complement one another since he has been socially groomed in the same way as the majority of the audience.

It’s a constant question throughout the film, even while Sachin-Jigar-inspired music plays in the background. An interfaith romance has been kept from Manu’s father (Girish Dhamija) because he thinks his family can’t handle it. The inflections in Manu’s English are lacking, yet beyond his crass behavior is a sensitive nature that Manvi senses.

We learn early on in the film that money is not a problem for Manvi, which removes the emotional upheaval and financial burden that the plot would be unable to hold without a gender reassignment procedure. The medical aspects of the intricate procedure are not mentioned at all in this summary. As a discussion starter, of course, but the producers seem to be advertising the advantages of cosmetic surgery in the guise of a breezy popular romance with a message.

Chandigarh, for sure Kare Aashiqui initiates a discourse that is long overdue with a forward-looking notion. He pushes farther than Kai Po Che and Kedarnath, but this time Abhishek settles for a simple, easy answer.

The supporting characters, other from Kanwaljit Singh, the retired brigadier father of Manvi, fade away after a few chuckles. No matter how hard they try to find the perfect woman, Manu’s sisters always fall short of their expectations.

That Ayushmann and Vaani have such electric chemistry, on the other hand, helps to keep things steaming forward and hide any kinks that surface in the screenplay in the second half.

Seeing Vaani in the role of Manvi, the self-conscious and sarcastic character, is a surprise. Infusing her voice with a trace of huskiness, she delicately sculpts a girl’s confidence and complexes as her eyes become blank throughout a dialogue. We are able to piece together Manvi’s past thanks to her convincing portrayal.

Ayushmann impresses as a Jatt child who struggles with his societal prejudice despite his reluctance to portray imperfection with passion. Ayushmann Khurrana gets a chance to show off his rippling physique and his acting prowess, and he doesn’t disappoint.

The announcer compares Manu’s last strike to lifting the Sanjeevani because he hits beyond his weight. Indeed, it is, since it represents the eradication of long-held biases and preconceptions. Reality will set in later!

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