The story around two wealthy families in Udaipur -- Rathore [Mukesh Tiwari, Anuradha Patel, Farida Jalal] and Choudhary [Mohnish Bahl, Rati Agnihotri]. An unsolved murder of a family member, combined with business rivalry and the need to prove to each other their supremacy, deepens the enmity. However, God has other plans. A girl [Karishma, portrayed by Nazia Hussain] is born to the Rathore family and a boy [Karan, enacted by Aditya Samanta] to the Choudhary family on the same day. 23 years hence, unknown of their family backgrounds, they meet each other in Poland, where the journey of love and togetherness begins.
Based on old family feuds, YEH JO MOHABBAT HAI is a present-day Romeo and Juliet tale with the usual ingredients that you associate with prem kahanis [songs, heartache, parental opposition, a jealous lover et al]. Come to think of it, the film has nothing imaginative to offer. The cast is spanking new and so are the stunning locales of Poland for the viewers to witness, but the material relies so much on the tried and tested, been-there-seen-that kind of situations that you misplace concentration after a point. The sole silver lining, besides the scale of the film and the spectacular look, is its musical score [Anu Malik], who belts out a couple of hummable tracks.
Yeh Jo Mohabbat Hai (2012)The story around two wealthy families in Udaipur -- Rathore [Mukesh Tiwari, Anuradha Patel, Farida Jalal] and Choudhary [Mohnish Bahl, Rati Agnihotri]. An unsolved murder of a family member, combined with business rivalry and the need to prove to each other their supremacy, deepens the enmity. However, God has other plans. A girl [Karishma, portrayed by Nazia Hussain] is born to the Rathore family and a boy [Karan, enacted by Aditya Samanta] to the Choudhary family on the same day. 23 years hence, unknown of their family backgrounds, they meet each other in Poland, where the journey of love and togetherness begins. Based on old family feuds, YEH JO MOHABBAT HAI is a present-day Romeo and Juliet tale with the usual ingredients that you associate with prem kahanis [songs, heartache, parental opposition, a jealous lover et al]. Come to think of it, the film has nothing imaginative to offer. The cast is spanking new and so are the stunning locales of Poland for the viewers to witness, but the material relies so much on the tried and tested, been-there-seen-that kind of situations that you misplace concentration after a point. The sole silver lining, besides the scale of the film and the spectacular look, is its musical score [Anu Malik], who belts out a couple of hummable tracks. .
