The boy impresses you right away from his first scene itself and then seems to be at a comfortable ease with his confused character throughout the film. Yet the appreciation would more go towards Aditya Roy Kapur than Shraddha unfortunately. In the acting department, the fresh pair is likable and they have also acted well in their difficult roles respectively.
But somehow I felt the arrangement (orchestrisation) of its songs too heavy and repeatedly interfering with the otherwise melodious compositions of the tracks & their meaningful lyrics. The film's Soundtrack is already a Big Hit, its Cinematography is fine and the Background Score provides what was required from it in a decent manner. It begins with an exactly similar scene taken from the 1976 remake of A STAR IS BORN, the couple meet each other in a bar in almost the same settings and then the film ends too on an identical note, truly following its inspirational source from the West, unsurprisingly.
At times it does make you feel the 'Mahesh Bhatt Impact' in few of its lovable scenes, but along with that the film also has few directly lifted sequences from the original as usual. But just before and after the intermission, it loses all its pace, becomes completely predictable and offers nothing in the name of entertainment (read emotional pleasure), despite of having some good tracks playing in the background. In straight words, the film begins well with all its introductory scenes and manages to hold the attention of its viewers in a decent manner. But in the process they push their film into an avoidable zone which is too melodramatic, extremely slow and not so happening for the young audience in particular, after its first hour. No doubt, director Mohit Suri and his writer Shagufta Rafique add their own notable insertions in the script to make it an intense emotional love saga, as always expected from the Bhatts. But it's the current 2013 remake of the Hit, which religiously takes its inspiration from the 1976 version of A STAR IS BORN, revolving around the life of a immensely famous Rock Star fading away from the charts due to his drinking habits & arrogant nature. In India, Hrishikesh Mukherjee made his own cult classic ABHIMAAN in 1973 featuring Amitabh Bachchan and Jaya Bhaduri (Bachchan) in the lead, which was a subtle Indianised version of a similar tale. After its initial release in 1937, it got remade twice in 1954 & 1976 (in the west) because of its engaging subject on music & its illustrious career struggles. Interestingly, the English film has its own history of remaking in both the West and the East beginning from the year 1937. Also following their own decades old track record, this time they pick up the 1976 version of A STAR IS BORN, directed by Frank Pierson and featuring Barbara Streisand & Kris Kristofferson in the lead. The film has a title fetching them an instant recognition due to its brand value, an already successful soundtrack, an interesting fresh lead pair and the whole 'Cost-Factor' under control like a perfectly planned business venture which has no probability of giving them losses even if the film is not liked by majority of the audience sitting in the theater. However, the other harsh reality here remains that with AASHIQUI 2, the Bhatt camp once again proves the wide spread notion in the industry that they truly know the film business more than anybody else in the present, when it comes to making remakes, sequels and inspired movies with some hit tracks unarguably. Therefore the review here has nothing to talk about the original AASHIQUI released in 1990 or its extremely popular music in the paragraphs ahead. And the gigantic reason for this valid argument is that those two projects are purely related to two different times, distinctive eras and two diversely brought-up generations which don't allow us to discuss any kind of comparative study related to the projects unnecessarily. As an essential clarification, I would like to begin with the fact that if a film is remade or its sequel is planned after decades, then there are simply no grounds on which either the films or their music can be compared in any form or manner whatsoever.
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