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Trivia / Goofs
Times of India
It's a love at first sight for Lucknow boy Faiz (Rishi Verma), an aspiring lawyer who is drawn to Karachi girl Sheen (Priyanka Mehta) for her inner and outer beauty. Sheen too falls for Faiz but their relationship gets strained, when Sheen discovers that Faiz's brother is a criminal.
Set in Lucknow, Ishq Ke Parindey is a run-of-the-mill love story, which works to a certain extent for its innocence and old-school romance. In spite of being terribly formulaic and predictable, the film turns out to be a pleasant watch because of its promising lead pair. Newcomers Rishi Verma and Priyanka Mehta fit their roles perfectly and have a bright future ahead. It is their chemistry and earnest performances that lend novelty to an out-an-out conventional plot.
Coming back to the story, the couple's relationship suffers after Sheen witnesses a few goons killing a man at a restaurant. She soon discovers that they happen to be Faiz's brother's henchmen. Having lost half her family to gang wars, she decides to distance herself from Faiz as a way to condemn violence. Faiz tries to convince her that he is not like his brother. Can the two bury their differences and get together?
While the lead actors are decent, the supporting actors ham away to glory - villains in particular. Also, the climax seems a tad too simplistic and abrupt compared to the steady build-up. While the cinematography and dialogues are fine, the production values act as a deterrent.
This one has a Qayamat Se Qayamat Tak hangover. If you don't mind traditional love stories and do not find them outdated, you can watch one.
The sinking feeling began when the title appeared over grainy images of flying pigeons. This pigeon mayhem (instigated by an assistant throwing stones) is repeated fifty times later in various contexts and frame rates, most of which signify the lovers-against-odds and India-Pakistan struggle. For once, Hindus are excluded: This is (intended to be) a chaste love story between Indian Muslim Faiz (Verma) and Pakistani Muslim Sheen (Mehta; fake eyelashes), who recreate the old-world package of romance+eloping (roping?) in gang-war-torn Lucknow.
When he can't find her, he types 'women from Karachi' into a search engine, but isn't bombed with 'feeling lonely?' pornographic popups. He then uses blank calls, kite flying and pigeons—in descending order of retro communication, before texting destroyed romance forever. They meet at canteens that have exactly two samosas on every plate, with glossy sandwich photos on clean walls. She mutters something about Pakistani eyes attacking Indian hearts. She runs like slow motion isn't an option, leaping into the air with the agility of a dancing peacock. Their union isn't simple because he has questionable family roots. When things go downhill, the generic 'maula maula' song appears. Their saga is so dated, that I could swear I saw the Berlin Wall amidst Mughal architecture. Goons' choice of weaponry—hockey sticks and fake punches—only reiterates the ancient era, when hockey was a credible Indian sport. Snarling villains, mostly Urdu-speaking caricatures, step over camera lens to demonstrate top status. These shots must have ended awkwardly for the cinematographer.
Our filmmakers have milked the cross-border eternal romance angle dry. It's hard to tell if it's Indo-Pak tension that provides fodder for these done-to-death stories, or the stories that actually create tension between the nations.
Why not choose Bangladesh or Sri Lanka instead?
Reportedly, the director did not take a Pakistani actor but wanted someone who was not conversant with Urdu.
Director Shakir Khan was inspired to make this film as he understood that people of both India and Pakistan wanted peace.