Birla Studios, Applause Entertainment and Window Seat Films’ Main Vaapas Aaunga (UA) is a love story against the Partition backdrop.
Keenu (Vedang Raina) and Jiya alias Afsana (Sharwari) are in love. While Keenu (real name Ishar Singh Grewal) is a Sikh, Jiya is a Muslim. Communal riots during Independence force Keenu to accompany his family to India while Jiya stays back in what is now Pakistan. Since Keenu loves Jiya, he promises to return to Pakistan to take her back with him. Well, Keenu does return to Pakistan, only to find that Jiya has married someone else. He, therefore, returns to India without meeting her. Years have passed. Keenu alias Ishar Singh Grewal (Naseeruddin Shah) is now an old man on his death bed. He has two sons and a daughter-in-law, all of who have accepted that Ishar Singh Grewal could breathe his last any day now. Ishar Singh’s grandson, Nirvair (Diljit Dosanjh), arrives in India from abroad where he lives. He realises that his grandfather is not dying because he has an unfulfilled dream. Slowly but surely, Nirvair learns that his grandfather wants to meet his ex-girlfriend, Jiya, one last time because he had promised to meet her many, many years ago. What does Nirvair do? Does he succeed in fulfilling Ishar Singh Grewal’s dream?
Imtiaz Ali and Nayanika Mahtani have written a story which is fairly nice but their screenplay leaves a lot to be desired. For one, the drama is so slow-moving and so long-drawn that it actually tests the viewers’ patience. Secondly, many of the characters are not well established, which leads to confusion in the viewers’ minds. Thirdly, although it’s a story of separation, the drama does not emotionally move the audience. The climax is appealing and so are some individual scenes/moments, but the slow pace and the seemingly never-ending drama are too much to endure. The duo’s dialogues are good.
Naseeruddin Shah acts ably as Ishar Singh Grewal. Diljit Dosanjh is earnest and sincere in the role of Nirvair. Vedang Raina does reasonably well as Keenu. Sharwari is quite good as Jiya/Afsana. Banita Sadhu is okay in the role of Kaveri. Rajat Kapoor leaves a mark as Iqbal Grewal. Jaipreet Singh delivers a fair performance as Angad Grewal. Anjana Sukhani is decent as Meher Grewal. Vinod Nagpal leaves a mark as Kirpal. Sanjay Suri is quite effective as Jasmer Grewal. Manish Chaudhari is very natural as Muzaffar Ahmedzai. Danish Pandor has his moments as Afzal. Dolly Ahluwalia makes her presence felt. Others provide average support.
Imtiaz Ali’s direction is good, technically speaking, but his narrative style does not hold the audience’s attention for too long. His scenes are well presented but they don’t add up to make a noteworthy drama of love and separation. A.R. Rahman’s music and Irshad Kamil’s lyrics are alright, but the songs are not easy on the lips and, therefore, won’t become very popular. Ashley Lobo and Nancy Dogra’s choreography is very eye-pleasing. A.R. Rahman’s background music is of a fine standard. Sylvester Fonseca’s camerawork is very good. Paramjeet Singh Pamma’s action and stunt scenes are okay. Suman Roy Mahapatra’s production designing, and Trupti Chavan’s art direction are appropriate. Aarti Bajaj’s editing is quite sharp. If the film still bores, it is because of the weak and long-drawn script, not faulty editing.
On the whole, Main Vaapas Aaunga will face rejection at the turnstiles.
Released on 12-6-’26 at Inox (daily 5 shows) and other cinemas of Bombay by Birla Studios. Publicity: fair. Opening: dull. …….Also released all over. Opening was weak at many places.