Cast and Crew of Roohi:
Director: Hardik Mehta
Two city young men, Bhaura Pandey (Rajkummar Rao) and Kattanni Qureshi (Varun Sharma) are Stuck up with Roohi (Janhvi Kapoor) under peculiar conditions. She is by all accounts a straightforward, coy young lady, however they before long understand that she has another side to her ‑ her “spooky” character, Afza. Bhaura creates a feeling for Roohi, and Kattanni succumbs to Afza.
With an abnormal sentiment fermenting between the triplet, Bhaura needs to dispose of Afza, while Kattani needs to ensure she lives on so he can sentiment her. Their insane endeavors to discover an answer for their concern lead them into odd, however comic circumstances, where they experience odd characters.
For some years, Bollywood didn’t try the loathsomeness parody classification out. Yet, it sure appears to have gotten extravagant of producers as of late. Chief Hardik Mehta attempts to mix the two kinds in Roohi and prevails generally. Rajkummar, once more, pulls off another part that makes them play the unassuming community fellow with shaded hair and a ridiculous grin.
Despite the fact that his character may have similitudes to his part in Stree, he guarantees that this one stands apart with various characteristics and non-verbal communication. However, one contemplates whether this is one job he is taking on unreasonably commonly. Varun sparkles with his incredible comic planning and pitch-amazing articulations.
The entertainer pulls off comic parts without any difficulty, and here once more, he parades his style for satire. Janhvi played both Roohi or Afza and She doesn’t think twice. She conveys the chills without breaking a sweat while playing Afza as she does as the shy Roohi.
The film has a lot of snickers with references made to minutes from notorious movies – for example, Rose “letting” Jack kick the bucket in the famous Titanic and the life-changing ‘palat’ second in Dilwale Dulhania Le Jayenge. The film, composed by Mrighdeep Singh Lamba Gautam Mehra, is packed with elegantly composed jokes, which land easily on most events.
What the film needs is a more profound story. There is a passing notice of how the principal characters manage a back story, yet almost no sticks on in your brain. At more than two hours, the film could do with a more tight alter. Aside from all the amusement, the film advances the idea of confidence and self-conviction, which works in a limited way, yet the consummation appears to be a slight bit advantageous, indiscriminate, and does not have the punch that one is taken care of right from the beginning.
With respect to the music, the two primary tracks – Nadiyon Paar (the repeated form of Let the Music Play) and Panghat – that works out during the opening and shutting credits are the features of the soundtrack for the most part created by Sachin–Jigar and stay in your brain even after the film is finished.
Generally, the film stays consistent with its kind and packs a decent portion of amusement.