Review: "Auron Mein Kahan Dum Tha": Ajay Devgn and Tabu struggle in a dated relationship

Tales of someone giving up their life and job to ensure the continuation of their love. With Auron Mein Kahan Dum Tha, writer-director Neeraj Pandey takes a vacation from his suspenseful spy thrillers to tell a story of renunciation in love. Though it seems simple and exciting, it's actually a dull, antiquated, and occasionally humorous experience. The narrative's heart doesn't always translate well on screen, which is the issue. A ensemble devoid of celebrities would have done a better job executing the theme of bittersweetness. Maybe the producers might have looked into some other areas.for romanticism in Mumbai and design sets that don't appear to be related. Both the trailer and Neeraj's portrayal of the main character should have been less explicative and adulatory. It's the type of movie where the soundtrack can't preserve the scenes' emotional secrets.

Vasudha (Saiee Manjrekar/Tabu) and Krishna (Shantanu Maheshwari/Ajay Devgn), who are much in love, are parted by circumstances. Vasudha is forced to move on from her social background and live in a chawl, but she can't help but think about Krishna. Vasudha continues to be Krishna's ultimate goal in life. The goal of the movie is to show how the two might interact when they inevitably cross paths again. Regretfully, the trip to the incident that caused separation  the two is more captivating than what transpires thereafter, mainly because of the youthful actors portraying the celebrities in their younger years.

To further his image, Neeraj surrounds Ajay with so many drum beats that the significance of sacrifice and the love leitmotif are muted. The film concentrates on building a halo around its starring hero, so the anguish, loneliness, and suffering hardly get through. Krishna needs to stay under the radar in Neeraj's espionage environment, but the filmmaker seems a touch too eager to highlight the character's extraordinary, larger-than-life appeal. Following the casting of a hero in an apparently unheroic part, he continues to conjure up ways to lavish him with praise.

There is undoubtedly still room for unselfish love, there is definitely an  a market for vintage melodrama, which Ajay and Tabu can sell because to their chemistry and resources. Their relationship here, nevertheless, doesn't seem to fit with the main plot of the narrative. The songs of M.M. Kreem don't assist their argument either, and their discussions are more banal than cerebral. The appearance of Jimmy Shergill as the romantic story's third wheel has grown stale as dawn. He makes it clear to us that his role is only ceremonial.

Though it doesn't exactly work, the scenario offers potential for self-referential humor. The moment it plays Jeeta Tha on the vehicle radio when Krishna's friend Jignesh (Jay Upadhay, the ever-present pliable friend material in Hindi movies) turns it on is the only one that truly takes one by surprise.  

The ballad of the rejected lover from the 1990s is called Tha Jikse Liye (Dilwale, 1993).

The uneven handling guarantees that experienced performers cannot continue the naive love affair that Shantanu and Saiee portrayed when they were younger. As the youthful Krishna, Shantanu, who already proved in Gangubai Kathiawadi that he has the vigor and talent for the big screen, dazzles once more. As the timid yet brave girl next door, Saiee shows herself to be a capable foil; nonetheless, a TV soap opera-style treatment leaves little more than tiny bubbles in the air. It is never implied that Shantanu and Saiee have the potential to transform into Ajay and Tabu on a physical and emotional level.

In Bollywood sagas, the junior characters are typically positioned such that you have to wait for the superiors to show up and take command.

the setting. Here, one waits for the situation to come to life via the flashbacks. Because of this division, becomes an inconsistent theatrical attempt with good source material and a sparky beginning but a phony finish