What do you get when you mix Mahira Khan, irrelevant VFX effects and a script that should not have seen the light of day? A movie that’s the biggest waste of tax payer money since the new Islamabad International Airport (yes we went there).
7 Din Mohabbat In revolves around Tipu, played by Sheheryar Munawar, who is a dorky, mama’s boy. Tipu meets a genie (played by Javed Sheikh) who grants him his wish of becoming a hero, but only if he can make a girl fall in love with him in 7 days.
After all the hype and expectations that surrounded the movie, one would expect directors Meenu Gaur and Farjad Nabi to have put forth an experience that is at least tolerable; but things quickly reach a dead end in the first thirty something minutes of the movie. 7DMI rests upon exaggerated, stereotypical characters with situations and plot twists that reach ludicrous levels. That, plus humour that failed us drastically.
Sheheryar Munawar’s portrayal of a self-conscious, unhappy mama’s boy is excruciatingly painful and hysterically vexatious. Mira Sethi plays the role of Princess Sonu (yes that’s her actual name!), who is the cherry on top of this cinematic massacre. It is especially disappointing that someone like Mahira Khan, who is our country’s most coveted actor, can choose a script that forsakes any sense and credibility in all ways possible.
On the other hand, Amna Illyas and Hina Dilpazeer are the only shinning beacons of hope that deliver the most in this long feature. However, there is only so much an actor can do when the roles assigned are doomed to failure.
No doubt the cinematography would appeal to many, with the vivid colours and visually refreshing frames, but that too is easily white washed with forgettable and distasteful music. The promising cast (and ban on Indian films!) is substantially enough to pull in crowds, but they are made to play out a script that might as well have been drawn out of a night spent on Molly.
While one can argue that this is also part of the great revival of our cinema, it is also important to ask— is this the kind of nonsensical, unenterprising cinema we are trying so hard to revive?