Banner: T-Series Films,Benaras Mediaworks
Producers: Anubhav Sinha, Bhushan Kumar, Krishan Kumar
Director: Anubhav Sinha
Cast: Neha Sharma, Aditya Seal,Aashim Gulati, Kanwaljit Singh, Meher Vij
Writer: Anubhav Sinha
Music: Ankit Tiwari
What does it take to make a heartfelt, romantic, musical film, which is also a sequel to a film that had all the right ingredients 16 years ago? The answer is: actors who have the innocence to portray a naïve love story, and music that cuts straight to the heart.
Anubhav Sinha’s Tum Bin II has both elements and almost matches up to his original 2001 flick, Tum Bin. The only drawback is weak writing, which makes the narration drag in many places. However, the film has moments that connect with you and there are scenes that stay with you.
The film starts with a couple who is engaged and very much in love, Amar (Aashim Gulati) and Taran (Neha Sharma), who are vacationing in the cold, snowy mountains. Amar goes out to ski while Taran is sound asleep. When Amar goes missing after an accident in the mountains, his father Papaji (Kanwaljit Singh) and Taran are desperate to find him.
After 10 days of search operations, the rescue team fails to find his body and assumes that he is dead. A shattered Taran tries to cope with her circumstances with her two sisters for support. Soon Papaji introduces Shekhar (Aditya Seal), his friend’s son, to Taran and the two hit it off. Shekhar tells Taran that in spite of all the pain and Amar’s loss, her life must go on. The two start to develop feelings for one another and just then, Amar returns after being emerging from a coma for eight months. How the story unfolds further takes the film forward.
It must have been difficult for Anubhav Sinha to attempt this sequel as the first part was 16 years old. It was also one of the most memorable films of 2001. Directorially, Sinha has taken the crux of the original Tum Bin and added a different angle while projecting it beautifully on the big screen. He holds the screenplay with realistic aspirations but the induced drama in the story is weary. He could have made his storyline more eccentric if only the screenplay was stronger. He fails to lace together a substantial film due to a poor writing. However, the film is technically brilliant in terms of direction and cinematography.
The writers fail to weave together a concrete narration and ruin the film in some places, especially in the second half. The film has many emotional sequences which impress. There are many touching scenes, for instance, the one when Papaji and Taran have dinner alone after the accident; Taran and her sister’s bond; and Papaji and Shekhar’s confrontation. A special mention of a brief appearance by Sandali Sinha, who looks beautiful and is a refreshing face on screen.
Cinematography by Ewan Mulligan is one of the main highlights of the film. His shot taking is brilliant along with his eye for detailing. He fills each frame perfectly and blends the narration well. In fact, it’s Sinha’s treatment and Mulligan’s cinematography that are the two pillars of this film.
Editing by Farooq Hundekar is good. He perfectly balances the first half and pre-interval. Having said that, the film does lose its way forward post-interval. With a runtime of 147 minutes, the film, pre-climax, seems to lose its grip and begins to drag. The hero of the film is its music, which had already created a buzz. Every song is beautifully written and tuned, and enhances the film.
Performance-wise, Neha Sharma plays her part with the right amount of naivety. However, her act lacks conviction. Aditya Seal depicts his part with gusto and gets into the skin of his character. Debutant Aashim Gulati plays his part well and does a fairly good job. It’s a pleasure to watch Kanwaljit Singh on the big screen after such a long time. Meher Vij is spectacular in her part. The rest of the supporting cast does well.
Verdict: Worth a dekho.