Movie Name : Roohi (2021)
STORY :
Two humble community young men, Bhaura Pandey (Rajkummar Rao) and Kattanni Qureshi (Varun Sharma), are left with Roohi (Janhvi Kapoor) under bizarre conditions. She is by all accounts a straightforward, shy young lady, yet they before long understand that she has one more side to her ‑ her "spooky" character, Afza. Bhaura creates feeling for Roohi, and Kattanni succumbs to Afza. With a bizarre sentiment blending between the triplet, Bhaura needs to dispose of Afza, while Kattani needs to ensure she lives on so he can sentiment her. Their insane endeavors to discover an answer for their concern drives them into odd, yet comic circumstances, where they experience odd characters. What occurs next structures the core of the story.
REVIEW :
For a long time, Bollywood didn't try the awfulness satire classification out. However, it sure appears to have gotten the extravagant of producers as of late. Chief Hardik Mehta attempts to mix the two types in Roohi and prevails generally. In the film, the three entertainers at the focal point of the plot – Rajkummar, Varun and Janhvi – are in incredible structure and complete one another exhibitions. Rajkummar, once more, pulls off another part that makes them play the humble community fellow with hued hair and a silly grin. However his person might have similitudes to his part in Stree, he guarantees that this one stands apart with various idiosyncrasies and non-verbal communication. However, one contemplates whether this is one job he is taking on unreasonably commonly. Varun sparkles with his incredible comic planning and pitch-amazing articulations. The entertainer pulls off comic parts without breaking a sweat, and here once more, he parades his pizazz for satire. Regardless of whether as Roohi or Afza, Janhvi doesn't think twice. She conveys the chills no sweat while playing Afza as she does as the bashful Roohi.
The film has its portion of giggles with references made to minutes from famous movies – for example, Rose "letting" Jack pass on in the notorious Titanic and the extraordinary 'palat' second in Dilwale Dulhania Le Jayenge. The film, composed by Mrighdeep Singh Lamba Gautam Mehra, is loaded with elegantly composed jokes, which land flawlessly on most events.
What the film needs is a more profound story. There is a passing notice of how the primary characters manage a history, however very little sticks on to you. At more than two hours, the film could do with a more tight alter. Aside from all the amusement, the film advances the idea of self esteem and self-conviction, which works somewhat, yet the closure appears to be a tiny bit advantageous, erratic and does not have the punch that one is taken care of right from the beginning. With respect to the music, the two primary tracks – Nadiyon Paar (repeated form of Let the Music Play) and Panghat – that work out during the opening and shutting credits are the features of the soundtrack principally made by Sachin–Jigar and stay to you even after the film is finished.