Things take a turn when Anna and her grand-father fly to India to get Arav and Anna married. Arav now seeks a divorce from Kajal.Īt first, Kajal avoids the issue in a playful manner, but relents subsequently when Arav tells her the truth - about Anna and his impending marriage to her.
He has a past, he had been forced to marry Kajal by his parents before he looked at West for career opportunities.
Everything is hunky-dory till Arav gets a call from his hometown in India.Īrav decides to return to his roots to sort out a few things. Gradually, Arav also realizes that he loves Anna.Īrav joins the BMW team and the Chairman of the company, who also happens to be Anna's grand-father, besides being impressed with Arav's designs, announces Arav and Anna's engagement, while unveiling the latest model in the BMW series. who bumps into Anna first in a temple, then at a party and later in a car showroom. Their love story is like the rain� unpredictable yet welcome, torrential yet life-giving.Īrav is a car designer in the U.S. That's where BARSAAT falters mainly!īARSAAT is a love story of three young people caught in a vortex of love they have no control over. Suneel has always attempted films that are seeped in Indian emotions, but very modern in terms of what they intend conveying. Even the end, which should've been different, is so bizarre that you often wonder whether you're actually watching a contemporary film. Of course, Suneel peps up the goings-on with some interesting moments, but they aren't enough to camouflage the defects, courtesy the screenplay which refuses to rise beyond predictability. A parivaar with pitaji-mataji, bhaiya-bhabhi and their kid, the next-door daadi, the domestic help, the bunch of friends who go for picnics and play games, the karwa-chauth ritual and Diwali celebrations� Everything is so saccharine-sweet here! Subconsciously, perhaps, BARSAAT also reminds you of Sooraj R. The screenplay is so hackneyed, so conventional that you often wonder whether you're watching one of those old-fashioned, conservative sagas of the 1970s. No cause for worry!īut what indeed is cause for concern is that Suneel treats the subject in an old-fashioned manner. In the Hollywood flick, it was all about two guys and one girl. Suneel borrows the essence from director Andy Tennant's Hollywood flick SWEET HOME ALABAMA, but changes the genders here. Suneel Darshan meanders on the same path in BARSAAT. It's either two guys loving the same girl or two girls getting swayed by one guy. From SANGAM to SILSILA to SAAJAN to KUCH KUCH HOTA HAI to AITRAAZ, romance continues to be the pet subject of most dream merchants. Bollywood has churned out love triangles with amazing regularity, over the decades.
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