Movie Review: Mudda 370 J&K

Producers- Avani Kamal and Bhanwar Singh Pundir

Director- Rakesh Sawant

Star Cast- Hiten Tejwani, Anjali Pandey, Manoj Joshi, Raj Zutshi, Zarina Wahab, Anita Raj, Mohan Kapoor, Sujata Mehta, Anjan Srivastav, Brij Gopal, Pankaj Dheer, Rakhi Sawant

 Genre- Social

Rating- **

Predictable but Inspiring!

Jyothi Venkatesh

The film is basically about the ages-old Hindu-Muslim strife in Jammu & Kashmir and the return of peace after the recent revocation of Article 370 by Prime Minister Narendra Modi. Set against the backdrop of the brewing tension between Hindus and Muslims in the beautiful land of Kashmir, two young souls – a young Hindu guy Suraj (Hiten Tejwani) and a Muslim girl Aasma (Anjali Pandey) – dare to love despite their socio-cultural dissimilarities. It is a classic case of forbidden love, but will the outcome be any different this time?

The trouble with the film is that it has a clichéd screenplay and also the drama moves on such an oft-repeated and predictable path that nothing makes an impact on the viewers. And on top of it , Nisar Akhtar’s dialogues are poor.The screenplay of ‘Mudda 370 J&K’ sets out to barely touch upon the sensitive topic of Article 370, and even talks about the plight of Kashmiri Pandits during the uproar of 1990, but all that is done in a haphazard fashion and the narrative does not present a balanced portrayal of facts or something that we have not earlier witnessed on the screen earlier.

It is indeed a pity that in spite of the fact that seasoned actors like Raj Zutshi, Zarina Wahab, Pankaj Dheer and Manoj Joshi try to save this murky rendering with some quality acting, ‘Mudda 370 J&K’ lacks ion many departments including storytelling, cinematography and technically ahs a lot of glitches and at times very tacky to the point of even putting you off. While Hiten Tejwani is good, Anjali Pandey makes a promising debut. Anita Raj is good while Anjan Srivastav is adequate.

Nagmindar Mundal’s camerawork is very average. Deepak Sharma’s action and stunt scenes are functional. Rahul Sarkar’s sets are below the mark, while Yogesh More’s editing is rather loose.

On the whole, though this film is better than Rakesh Sawant’s earlier films, it may find the sailing at the turnstiles very tough in cities and multiplexes but may sail through in single screens and mofussil areas. I would say it is inspiring in parts but also predictable on the whole

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