Do Lafzon Ki Kahani Reviews by Critics

Do Lafzon Ki Kahani has also received extremely poor reviews and the box office opening is very low – so low that some shows have been cancelled. Housefull 3 will remain the first choice this week for moviegoers.

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Do Lafzon Ki Kahani Review by Bollywood Hungama

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Starting with the fact that the script (Girish Dhamija) of the film is highly clichéd and predictable, DO LAFZON KI KAHANI fails to hold your attention. Besides the fact that the screenplay of the film is weak, the pace of the film is extremely slow as the love story develops throughout the first half of the film. The writing is extremely poor and lacks creativity with jarring loopholes in the script. Also, considering the predictability, the climax of the film seems extremely stretched. Deepak Tijori fails completely as a director here. Despite having talented actor like Randeep Hooda at his disposal, Tijori seems directionless as he struggles to take this love story to its predictable end. His sensibilities seem to be still stuck in the 90s cinema. As far as the performances are concerned, there has been a drastic drop in the performance of Randeep Hooda as Sooraj, when compared to his previous film SARBJIT. The actor looks highly disinterested and struggles through his part. Randeep however needs to be applauded for all the work that he seems to have put in for the fight sequences in the film. He surely has worked on his body, look and action really well. Kajal Aggarwal, who has by far given girl next door performances, too seems lost with her half baked role. While love stories have often managed to touch hearts, this one lacks soul and the characters fail to establish any connection with the audience.

Do Lafzon Ki Kahani Review by Saibal Chatterjee on NDTVMovies

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Making its point with the means of just two words is simply beyond this film. It takes an eternity plus a few hours to reach its climax, by which time you just want the tortuous tearjerker to be banished from your sight. The stated runtime of Do Lafzon Ki Kahani is 127 minutes – a little over two hours – but it feels four hours long, if not more, so enervating and exasperating are its dramatic coincidences.

Do Lafzon Ki Kahani Review by Sreeju Sudhakaran on Bollywood Life

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We live in an exciting era when it comes to cinema, when even established directors are looking to serve something different. In this time, comes a weepie weepie love story that throws every cliche in the Bollywood handbook on your face. So we have the brooding hero with a dark past cliché, a chirpy and irritating heroine cliché, a lecherous boss cliché, a past that binds them cliché and so on. There is nothing new that the director is bringing much on the table. That big twist in the tale near the midpoint, already given away in the trailers, can be deduced by a six year old. For a love story to touch your heart, the scenes should be memorable and the dialogues quotable. However, the film fails on both the criteria. The editor seems to have dozed off at his desk, like the audience in the theatre, as the film seems never ending. At least the first half was bearable thanks to the cutesy cutesy budding romance between the leads. But the proceedings in the second half are so humdrum that you end up not even caring for the plight of the protagonists. You also end up questioning several things in the film. The reason for Sooraj leaving kick boxing the first time sounds hollow, and so does his intentions in not revealing himself to the girl when she gets her sight back. Also the flashback sequence is so lazily directed that we will blame the girl more for her erratic driving that lead to her loss in sight than Sooraj’s hand in it. Apart from the leads, none of the characters make any impact. In fact some of them disappear for no reason, like Sooraj’s mentor.

Do Lafzon Ki Kahani Review by Jaidev Hemmady on Movietalkies

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As for the film itself, the plot is very clichéd and corny, not to mention sluggish. The storyline is so predictable that you already start guessing what will happen four scenes later. If that was not all, the chemistry between Hooda and Kajal is virtually non-existent, which is the worst possible thing to happen to a love story.

Review by Manisha Lakhe on Nowrunning

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Kajal Agarwal’s Jenny shows up within ten minutes of us watching Randeep Hooda (Suraj) in a very bad haircut do manly jobs, run from one job to another without saying anything. Then Kajal Agarwal starts talking. At the end of two and half hours, she’s still talking. She’s a pretty girl, but the chirpy act begins grating on your nerves within the hour. You want to know why Randeep Hooda is the way he is in the movie. How did he build that body after losing all that muscle mass in Sarabjit? Was this made before Sarabjit?

Review by Sweta Kaushal on Hindustan Times

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The film focuses more on the idea of love than anything else, and the beautiful locales of Malayasia add to this experience. That in itself is reason enough to watch it. (Take your bae along). If you’re not the romantic kind, Randeep’s acting and his ‘ode to Sylvester Stallone’ (his workout sequences) will be a delight then.

Review by Renuka Vyavahare on The Times Of India

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Randeep still manages to infuse life into his brooding character in an understated way. Guilt-ridden and bruised, he essays his role with conviction. He’s a fine actor and deserves better. On the contrary, as a visually impaired chirpy girl, Kajal fails to leave a mark. In her defence, the writing is way too sympathy seeking for your liking. Either someone has sinned, disabled, dying or in pain and yet nothing makes you weep, which is the biggest tragedy.

Review by Namrata Thakker on Rediff

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In fact, the film is somewhat bearable till the interval because of Randeep and Kajal’s chemistry. But, performance wise, it’s the Sarbjit actor who stands out. It’s clear that Randeep has given everything to the role. The boxing scenes are a visual treat, so is the overall action. He is good in romantic scenes as well. What lets him down is the story. It’s sad to see such a good performer wasted in a film that just doesn’t do justice to his acting abilities. Kajal, on the other hand, is decent but there is nothing much to boast about in her performance. The editing is sloppy and there are quite a few scenes that pop up randomly, making no sense in the story. The plot is predictable and so Bollywoodish that, after a point, I just didn’t care where the film was headed.

Review by Shubhra Gupta on Indian Express

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The only point of interest is that it is set in Kuala Lumpur, a city Bollywood doesn’t much get around to. The plot is a string of drippy sequences. Aggarwal sports a fixed stare-and-smile and the kind of lilting voice meant to be cutesy but is mostly annoying. And Hooda works very hard to build muscle and look appropriately battered, and is, as usual, the only reason to keep sitting through this thing. Even when the film takes a break from its leading lady and takes us to the boxing ring with its testosterone-filled air, and bloody beat-em-until-they-are-dead illegal bouts, with Hooda sparring with Maamik and George ( so good in ‘Miss Lovely’), it has no lift. Hooda takes a beating very convincingly and does all the heavy lifting, but once again for a film which doesn’t deserve it.

Review by Ananya Bhattacharya on India Today

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Director Deepak Tijori and writer Girish Dhamija have tried to put together a tale of love, loss and redemption in Do Lafzon Ki Kahani. The product, however, is a half-baked story with half-decent performances by the lead actors. It is largely because of the acting of the actors, Randeep Hooda more than Kajal Aggarwal, that you want to sit through this yawnfest of a film.

Review by Shubha Shetty-Saha on Mid-Day India

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Even in the absence of a terribly sensible script, this could have been tender and a tear-jerking film, if the director Deepak Tijori had a less absurd script and a little more sensitivity at his disposal. Hooda and Aggarwal look great together. While Aggarwal is limited by her confused character sketch, she manages to do a sincere job. It is to Hooda’s credit that he gives a convincing performance even in this mish-mash of mush. He looks the character of the boxer he plays and is a delight to watch, especially in romantic scenes.

Review by Vishal Verma on Glamsham

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DO LAFZON KI KAHANI has nothing much to say literally. Though the movie is faithful to its believe on love, the presentation lacks novelty. The makers should have understood that love is blind but lovers of good love story are not. Watch it only if your partner insists or you love Randeep Hooda more than anything else.

Do Lafzon Ki Kahani Review by Indiaglitz

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‘Do Lafzon Ki Kahani’ is actually a tale of two words which has been stretched as a never-ending tale. Though, the initial romance, Randeep’s performance, Kajal’s presence and few good songs work in the favour of the film.

Review by IANS on Zeenews

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Girish Damija’s script has a heart which moves on a slow pace. The narrative lingers effectively. While Randeep’s character is well-etched and rounded, Jenny’s part floats on an ambiguous scale – from a blind school teacher, teaching students clay moulding to a physiotherapist. Technically, the film is well designed. Mohana Krishna’s camera work is steady and noteworthy. His frames, captured from various angles, artistically arrests the visuals, which include Randeep’s haunting performance. And his tight frames are manipulative. The music by Aruna Harjai and Ankit Tiwari seamlessly meshes with the narration. The songs are lilting and mellifluous and bring out the essence of the moments. Overall, ‘Do Lafzon Ki Kahani’ is a sentimental film that will woo any romantic.

Review by Arnab Banerjee on Deccan Chronicle

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Hooda looks perfectly cast what with his toned muscles and lean ready-fight-in-a-ring-physique. But to develop the mental toughness he needs to get through a strenuous fight, and so, he is made to either frown or fret. He tries hard to deliver an assured low-key, natural performance, but what remains with his fans are his pectorals, athleticism and stagey skills. For an actor who stands out in any film with his honest performances, this must have been challenging for him to plod along a character that refuses to grow. A bit of a warning: For a film that has an overdose of over-romanticised, weepie plot, forgetting to bring tissues is the definition of schoolgirl error.

Review by Kriti Tulsiani on News18

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To the film’s credit, there are some positives in the film for which you might want to spend your money on. The exotic locales of Malaysia add to the romanticism of the plot and transport you to a dreamy world for a while. There is an entire sequence where Hooda gears up to get back in the arena; that’s not just well enacted but also wonderfully executed. Go for it if you just wish to be mesmerised by Randeep Hooda’s on-screen aura. If you’re a die-hard romantic, the one that believes that love is forever and has a strong faith in serendipity, you might end up liking the film a little more. But if you aren’t interested in any of the two before-mentioned things, you can easily give it a skip.

Review by Kunal Guha on Mumbai Mirror

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Randeep Hooda’s ability to essay a range of characters with commitment and compassion has been proven. Here, he delivers his blows and breakdowns with the same enthusiasm. Kajal Aggarwal is replaceable and her outbursts are heavy on tears, but light on expressions. The soundtrack has a curious resemblance to that of Bhatt films. Almost every song conveys a passage of time; one covers a blossoming love story, another essays the grumblings of an anguished lover, and finally, that Sufi ballad to convey pathos. But much empathy should be coming our way instead for enduring this pugilistic blow in the gut of cinematic history. Director Deepak Tijori makes an earnest effort to retell a love story that might have seemed legendary on paper, or on the DVD jacket of the Korean flick he rented. But it’s safe to say that much is lost in translation.

 

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