Love in Vietnam – When Love Becomes Memory and Memory Becomes Love

Cinema is not about the demonstration, but about emotion. Love in Vietnam, a film of Rahhat Shah Kazmi is a very sweet, painful reminder. Not only a love story is based on telling, not to have, but the first love, but the last time it is about being about being about love.

Story

Love is basically a story of three lives in Vietnam- Manav (Shantanu Mashwari), Simmi (Avneet Kaur) and Lin (Kha Ngan). Manav and Simmi childhood lovers and their innocence is so true that it seems to be worn out. However, life takes Manav to Vietnam under the supervision of his uncle (Raj Babbar). There he becomes a photo of Lin, and this weak, temporarily falls in love with his thought.

Is Lin real? Is he a dream? The movie doesn’t rush to answer.

On the contrary, it provides Manav’s desire to be ourselves. The story becomes a reflection of the desire itself while the story is swinging between Simmi’s familiarity and the mystery of Lin.

What does it do

Rahhat Kazmi staged his story with sincerity, rarely seen in Hindi Romanticism. Usually there is no frivolity or cheating replaced by emotion. Instead, we receive silences, gaze and pause – minimatic punctuation signs that speak loudly than words.

A scene in which Manav and Lin are walking along the lake are a transparent magic – life claims to be in the most gentle gestures.

When Simmi, who is ruined by the breaking of the grocery store, takes him quietly, his pain is the audience.

A Vietnamese woman said, “Why are you looking for her?” He asks. Manav’s simple answer – “because I love him” – land like a quiet lightning.

Cinematography continues with love on the lakes, streets and market places of Vietnam, transforming the country to more than a ground – a character, a witness to a fragile and durable love story. In the meantime, the music does not only accompany the film; He’s breathing with him. Jeena Nahi washes, revitalizes the forgotten mixing of the wrestlers, I am ready for the celebration temperature, and Bade Religion Hue soothes like a familiar caress.

Performances

Shantanu Mashwari is a revelation. Performance all restrictions and internalization – makes Manav’s longing without writing. In a role that can easily bend to Melodrama, he prefers the truth.

Avneet Kaur explodes like an emotional storm in the second half. Fragility, compassion and silent heart make it the spirit of the film.

Kha ngan is bright, mysterious and almost another world. The presence of mystery and melancholy add equal sizes.

Veterans – Raj Babbar, Gulshan Grover, Farida Jalal – Gravitas, the film with maturity and experienced experience.

Weaknesses

Not everything is smooth. The first action runs very quickly as if he is eager to build Vietnam arc. Some dialogues are overly explanatory, robbing the scenes of natural rhythms. A few choreographed moments are also lacking subtlety. However, these are otherwise discussions in a film that keeps you in emotional understanding.

Larger picture

The love in Vietnam feels like a antidote in Vietnam, where “romance ında in Indian cinema is usually diluted – where it serves as a foamy comedy or packaged as a superficial show. On the days of Arth and Saaraansh, filmmakers like Mash Bhatt return to a time when filmmakers use love stories to explore deeper facts about life and longing.

Rahhat Kazmi, who adapted a Turkish novel, revives him as an Indo-Vietnamese gagile. In doing so, the film exceeds the limits not only geographically but emotionally. Love, memory and loss are universal experiences that do not need translation.

Decision

Love in Vietnam is not a perfect movie, but an honest film. Defects do not reduce the effect; If there is something, they do more people. It is rare to encounter an Hindi film that does not scream for your attention today, but quietly won patiently.

This is a film about love, loss, always ending unity, but still describing a life. For those who have loved and disappeared – even for those who still seek – will leave a pain behind and perhaps a little hope.

Rating: 4/5

A permanent, sincere romanticism that makes you believe that Indian cinema is still a place for sincerity.