Progressive parents, a funny/nosy relative, a cool dadi who is social media savvy, confusion ensues, and happy ending with a random message thrown if. If I took a shot every time I was able to guess where I have seen all this before this film, I’d be very drunk.

It’s only natural that one of the co-producers and writer for Kahan Shuru Kahan Khatam is Laxman Utekar, whose body of work has been dominated by heartland-set films– Luka Chuppi, Mimi, Zara Hatke Zara Bachke. Nowhere wrong with such a setting, but will it ever stop?

👆 The above video is the trailer of the film Kaha Shuru Kaha Khatam

The same Outdated plot

This one features Meera (Dhvani Bhanushali in her acting debut) on the run away from her own wedding. The backstory? She wasn’t asked by her father if she’d like to get married. Yeah, that’s a wafer-thin conflict. She insists that she would have anyway given her yes-but she wanted to have been asked. Crashing her wedding is Krish (Ashim Gulati) being chased by Meera’s relatives. Confusion ensues, and he runs off with Meera, too.

The first half was something of a snooze-fest with the jokes failing rather badly. The writers here seemed to think it would be some great idea to name two characters Gautam and Gambhir. Thank god, intermission came within 40 minutes, and you began thinking ‘yeh kab Khatam hoga?’ Was the title a challenge hurled to the viewers?

Amazingly, the second half saved the film somewhat. I would say it is because the side cast gets finally to do some heavy lifting. Rakesh Bedi, as Ashim’s dad scared of his wife Supriya Pilgaonkar, manages to bring in some laughs. Utekar’s influence is so robust that even certain plot points are taken straight out of his own films. Remember how, in Luka Chuppi, the misunderstanding of Kartik Aaryan and Kriti Sanon’s characters’ staying together mistakenly being presumed as married occurs again here too.

Worst of all, though, KSKK sends us back to a familiar, stereotypical portrayal of people belonging to the LGBTQI community. So much for a film that parades around with a message to treat women at par with men.

Performance report card

The performances, in theory, made the film work better, with Dhvani doing her bit to lift a rather one-dimensional character. She has a nice presence, and with some more work on her emotional scenes, she could surely go on to emerge as a decent performer. Ashim Gulati is average. Such a film required such charming characters who sweep you off your feet, but they miss the mark.

Rakesh Bedi and Supriya Pilgaonkar stand out, of course, due to their decades of experience.

The film’s music is below average, with a forgettable appearance by Dhanashree Verma in a song. The story, the performances, everything aside- what I won’t forgive the makers for is recreating classics like Ajeeb Dastaan Hai Yeh and Ek Ladki Bheegi Bhaagi Si, and wasting them.

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