Junooniyat 3rd Day Box Office Collection 26 Jun Sunday Collection Report, Junooniyat 26th June 2016, Junooniyat Collection Junooniyat Review Public Response Rating Total Collection
Pulkit Samrat tries, however never gets an opportunity to break free from the grip of Bollywood’s generalization of an armed force fellow. Yami Gautam could’ve improved, yet Junooniyat is to a greater degree a musical than a strong relationship show. Kept to look great, move well and act like normal Punjabi young ladies do in movies, she blurs.
Gulshan Devaiah and the cinematography by Attar Singh Saini are the two great things going for the motion picture, however do little to rescue the terrible script. Some resonant tunes may lure you, yet that is insufficient to keep you snared for the two-hours and odd adventure.
The standard thing ‘kid meets young lady’ story takes quite a while to happen, and that gives the gathering of people enough time to envision the following turn. Normal written work neglects to add profundity to characters, making the performers appear to be more similar to fillings in an irritating tooth pit.
Film: “Junooniyat”; Director: Vivek Agnihotri; Cast: Pulkit Samrat and Yami Gautam; Rating: * ½
Presently get this. “Junooniyat” is coordinated by Vivek Agnihotri whose last film was the political blowback “Buddha In A Traffic Jam”. Furthermore, this film which could be re-dedicated “Screenplay In A Traffic Jam” stars Pulkit Samrat with Yami Gautam who were most recently seen as several three months back in “Sanam Re”.
Allurement, as it’s been said, comes in numerous structures.
Junooniyat 3rd Day Box Office Collection 26 Jun Sunday Collection Report
On the off chance that despite everything you discover the possibility of seeing “Junooniyat” enticing, then proceed. You just have yourself to fault for what lies in store. On the off chance that Mills and Boon were a Bollywood establishment, “Junooniyat” could be the masthead for the areas committed to blockheads. The lovelorn story is one extended he-adores me-she-cherishes me-not yarn fest taking into account preposterous fortuitous events that look bad in this period of moment correspondence when each misconception between significant others can be cleared with only a single tick of a telephone.
So test this: The annoyingly screechy and vigorous Suhani (Yami Gautam playing a stupefied rendition of Kareena in “Poke We Met”) loses the affection for her life since he, the adoration for Suhani’s life, is Jahaan, an Army man. Suhani’s annoyingly “Punjabi” family (think Geet, think “Poke We Met”) has lost numerous men to the Army, so she can’t wed a jawaan.
Rather than belligerence with her family that such a large number of individuals bite the dust in street mischances and it doesn’t mean you don’t wed a man who drives an auto, Suhani races to the affection for her life and, in a solidly organized railroad station succession, says, “Pick amongst me and the Army.”
Jahaan picks carefully. At some point later, she keeps running back to Kashmir to Jahaan, sees him with another lady and presumes he is locked in somewhere else.
She could have asked at any rate once. Be that as it may, no. This is silver screen from the 1990s when correspondence implied passing for the screenplay. Covered with the most ridiculous wanders aimlessly that lead to a totally messy schmaltzy and unsurprising finale, “Junooniyat” must be the most silly sentimental adventure.
It just makes you appreciative for breakups directed on Whatsapp.
While Yami Gautam’s bubbly demonstration drives you insane, Pulkit Samrat is not awful. His endeavor to loan gravitas to a part that is composed with as much pickiness as graffiti on latrine divider, is estimable.
Poor Samrat needs to battle against lines like, “Is he a tall Army man?” (articulated in the midst of laughs by poor Hrishita Bhatt playing Yami’s cousin-companion) when truth be told the performing artist is not exactly Amitabh Bachchan in stature.
Flourishing simply on cliché lines and brainless circumstances, the one splendid spot in “Junooniyat” is Attar Singh Saini’s camerawork which catches the flawless snowpeaks of Kashmir with a consideration that is not obvious in whatever other segment that constitutes this excruciatingly trite and apathetic romantic tale.
A specific uncertainty further undermines the story. There’s contention, however it’s exceptionally flighty in nature. The beat slows down and when energy gets, it’s the ideal opportunity for another melody. The feeling of criticalness failures out when it’s required the most. Also, the comic breathers hop out of the story, making the entire plot seem sketchy, confused and unromantic.