New Delhi: Ever since the lockdown post-pandemic eased and theatres opened; it has been said that only larger-than-life movies, big event films starring megastars should be released in theatres. And, that only they do well. The social-realist, message-oriented films( which actors like Ayushmann Khurrana have been champions of) do not seem to be working so well. One only has to look at the slate of these films released over 2022. It is not just Ayushmann Khurrana-led films but others like 'Janhit Mein Jaari', which despite having been marketed aggressively with reduced ticket prices have not landed so well. Thanks to a drastic change in consumption patterns that as audiences, we have begun (if this would not be a generalized overstatement) inclining more towards complicated human psyche films, where not black and white but gray characters with questionable choices rule.


'Almost Pyaar With DJ Mohabbat' starring Karan Mehta, Alaya F, Vicky Kaushal, and directed by Anurag Kashyap is the first 'social-realist film of 2023' to be released in theatres. The film cleverly tethers down its political value in abstract notions of love, shayari, and musical poetry. If this film works or not is for the audiences to decide but to not watch it would be to not give a fair chance to a story like this to be heard and seen.


While you would expect a technically sound film from a seasoned filmmaker like Anurag Kashyap; 'Almost Pyaar With DJ Mohabbat' is not to be seen and delved into for its technique, editing, camera work, even its music but more for its soul. There is too much personal in this political film that will resonate with not just one kind of generation today but even with those who have been around since Amrita Pritam (without overdoing the references in the film) got published.


'Almost Pyaar With DJ Mohabbat' is everything you will not expect from a filmmaker who gave 'Manmarziyaan' a few years ago. This attempt by Anurag Kashyap to understand love in generations half his age feels deliberate and forceful. As much be the earnestness behind it, the idea to get it right sometimes takes the organic flow away from the film.


(Spoilers Ahead)


The film revolves around two parallel timelines: one in a foreign country where Alaya F is Aisha and Karan Mehta- Harmeet, and the other in Himachal Pradesh where Alaya F is a Hindu girl and Karan Mehta is Yakub( the name perhaps an obvious implier). The two characters in different timelines are negotiating what is to love in our society, complications ensuing due to age difference etc. The timelines are connected with the music and podcast shayari of DJ Mohabbat, very well-played by Vicky Kaushal in the film.


Shots are intercut between the timelines with the use of music. There is a slowness to everyday life and silence to reveal the utter banality of our existence. For a film that has so much music, there is too much quiet in 'Almost Pyaar With DJ Mohabbat'.


A sense of innocent childhood nostalgia runs in the snow-clad valleys of Himachal where an uneducated-Musilm man of 23 years of age falls head-over-heels in love with a 16-year-old Hindu girl. Love Jihad narrative enters the film and you are sure of how things will end; only as an audience you want to see the unabashed masculinity, notions of respect, and religion strewn around, all complimented with contrasting love-sick music and literary references of Amrita Pritam, Rabia Basri, and Gulzar.


In fact, 'Almost Pyaar With DJ Mohabbat' will be much more appreciated among literature students in general for the rich referencing template the film has.


The post-interval film gives a major twist to the foreign location timeline where Karan Mehta and Alaya F's relationship status takes a turn when the former is sent to prison on charges of rape. In Himachal too, egos are hurt, the police hunt is on and Yakub is gunned down by the Hindu family whose daughter was allegedly kidnapped by the former.


Vicky Kaushal as narrator-chorus uses abstract poetry to foretell that which is to come, a convention borrowed from theatre and reminiscent of a character like Piyush Mishra from 'Tamasha'.


Individual needs overpowering what it is to hold family values, traditions, and societal norms rule the second half of 'Almost Pyaar With DJ Mohabbat'. There is a sense of idyllic landscape, a surrealness for some 15 minutes in the film until reality reigns down.


Interesting use of social media platforms ( like an alternative Tik Tok) to say what cannot be said with freedom in society among people because that will not be understood, of music, and shayari all blend well with the form of 'Almost Pyaar With DJ Mohabbat'. Thankfully, the preachiness is absent and thus perhaps what comes to the fore feels realistic and not spoon-fed. The director deserves full marks for respecting the intelligence of the audience in that matter.


As for performances, both Karan Mehta and Alaya F ace their characters. It goes without mention that Karan lends a certain depth even when there is not much told of the backstory ( thankfully). Perhaps, his character is better chalked out but Alaya F manages to ace her parts, of Amrita, Ayesha and the burqa-clad aunty persona she takes for social media.


The music by Amit Trivedi also deserves a special mention for catering to the context of the film besides being a narrative device that serves the purpose of the situations it is used in. However, sometimes, it just wants to be so right that it feels forceful.


The screenplay however is patchy, there is a lack of coherence in parts especially like vanishing characters once their presence is felt.


The highlight of 'Almost Pyaar With DJ Mohabbat' is the language used in the dialogue. It is so well put and constrained without overdoing any message-oriented stuff, that it is commendable.


Lines like ' Nazi se shadi kar li... kya farq padta hai' 'ladke ek dusre ke sath kya karte honge' 'back pocket mein comb rakhne wale ladke... kya seekhenge ishq ke bare mein', 'baat baat pe naq kat jati hai' ' musalmaano ko 4 shadian allowed hai' etc etc. all have this personal plus political angst which is so well put in the dialogue.


Intent like books by revolutionaries changing the minds of young people, or social media and music doing the same, bully behaviour replicated by the one who is bullied, love is a transgressive political act, are thematically intertwined with the overarching narrative of love etc. also deserves a mention for being so organically well-placed. For this reason, 'Almost Pyaar With DJ Mohabbat' is densely loaded with themes that are toned down with the use of music.


For what it's worth, 'Almost Pyaar With DJ Mohabbat' is an important film, the kind which will resonate with a generation because it speaks for them; if not now then in years to come like how a 'Tamasha', or even a 'Hazaaron Khwaishein Aisi' resonated with a certain generation.