If you have been blown away by the awesomeness of Kangna Ranaut in her previous movies, the film ‘Simran’ gives you yet another opportunity to witness the same. Kangna is back with yet another bold character, great comic timing and some really relatable issues that we will be able to strike a chord with. The film is filled with all sorts of craziness that you will ever expect to find the protagonist doing. The film exists as a demonstration of Ranaut's marvelousness.
|Stars:||Kangana Ranaut, Soham Shah, Esha Tewari, Pande, Aneesha Joshi|
|Release Date:||15-Sep-2017, India|
|Overall Ratings:||/ 5|
Simran movie story rotates a youthful Gujarati young lady name's identity Simran otherwise known as Kangna Ranaut, who fills in as a maid in the United States, transforms into a natural pilferer and alcoholic after she winds up plainly dependent on betting. Ranaut and a couple of smart lines keep the film watchable.
To know what exactly you can expect from this film, take a look at the reviews. Here’s what the review says about the movie:
Based on the fascinating story of a young nurse and compulsive robber/gambler Sandeep Kaur, this is a film that - judging from the warm, funny bits - would have benefited from an overall jauntiness, in the vein of Catch Me If You Can. Instead, we have a film that wants to tell jokes, make us cry and make us gasp, and - with no real flow between the tonally different sequences, save for jarring songs every now and then - only the jokes ever work. (And not all of them. There is a terribly cheesy moment, for example, where we learn why the film is called Simran.)
The Times Of India
The only one who is having a good time here is Kangana. Whether she's docile or daring, the actress goes about her screen business with a flourish; getting her mannerisms pat. However, there are occasions when even she gets carried away with the constant focus. But then again, is she really to be blamed? The filmmaker doesn't even have another noteworthy star on celluloid to share the limelight. Simran's parents and her fiancee, Sameer (Sohum) and other actors--foreign and desi--don't quite add up.
Director Hansal Mehta and his writers – Apurva Asrani and Kangana, herself, give a novel spin to this dark and twisted story. They borrow the title from DDLJ, making a realistic parody of how women have changed since 1995. 'Jee le apni zindagi' is no longer about finding the man of your dreams. It's about achieving what one's heart desires. The narrative is layered with deep-rooted optimism, giving it the edgy fairy tale feel. And they achieve all of it without romanticising or glorifying Praful's crimes. It must've been tricky but therein lies the power of the plot. Despite being ridden with several clichés, the effort to be inventive is unmissable. A special mention here is for the dialogues – which are bound to leave you in splits. The beauty of Hansal's direction is that the story has its grim, poignant, heartbreaking and a few high-strung emotional moments but he never lets the humour go missing.
Mehta’s Simran is brimming with tributes to its female lead, giving her scene after scene to prove her comic timing (not always spot on), her ability to evoke pathos (not always convincing) and her skill at switching registers in a matter of seconds (not always successful). Despite the presence of other actors, the 125-minute movie is a one-hander, with Ranaut present in nearly every frame from start to finish. Some parts of Simran play out like improvisational scenes from an acting workshop in which Ranaut is trying out various emotions to see which one fits.
The performance of the lead actor in Simran is top notch. The film rests on Kangana's shoulders and she doesn't disappoint. She is in form from the word go. But the same cannot be said about the rest of the cast. Everyone else in the film is overshadowed by Kangana, the way director Hansal Mehta might have willed it. Simran is a Kangana film, understood. But it suffers from the lack of a strong supporting cast. Sohum Shah is barely passable as Praful's could-be husband Sameer. He tries hard but cannot hold a frame with Kangana in it. Kangana's Queen made you want to fly to Amsterdam right from the theatre. There is nothing that you want to do after Simran, save go back home.
If anyone had any doubt that an Indian leading lady cannot carry a full-fledged film, they can banish that thought at once. In Simran, Kangana Ranaut drives from the front seat, keeping her feet firmly on the accelerator, and everyone else in the cast follows. While that is an entirely wonderful thing because Ranaut is in top form, it also becomes a failing, and ultimately prevents the film from becoming a stand-out. And that’s because there’s altogether too much of Ranaut without adequate support from the plot, which runs off in all directions in order to keep her in every frame (ironically, the leading lady has a script-and-additional-dialogues credit), and it all becomes too much of a good thing.