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Not only are the tunes lifeless and belong to the fast-forward variety, even the placement of a couple of songs is inappropriate. Besides, the songs are a complete distraction here. It wouldn't be erroneous to state that the story comes to a grinding halt as the lovers indulge in romantic talk for the next 35 odd minutes. Surprisingly, there's no movement in the story thereafter. Everything is fine till Shahid and Amrita get engaged. Sure, VIVAH starts off very well and the bonding between Alok Nath and the baby is indeed emotional. were magnetic, that's not the case with VIVAH. While the light moments as also the songs of H.A.H.K. But the film changes gears twenty minutes after the second half begins. The first hour as well as the start of the second hour focuses on light moments and songs. In terms of scripting, VIVAH is structured on the lines of HUM AAPKE HAIN KOUN.
Vivah film video songs trial#
Just when everything is set for the wedding, a crisis puts their love through a trial by fire.
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Prem and Poonam now enter the most magical and romantic time of their lives. Prem and Poonam are engaged and the marriage is scheduled to take place after six months.
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Gentle, soft-spoken Prem, the scion of one of Delhi's most prosperous business houses, may have studied abroad, but retains his respect for family traditions and values. Chachi, however, is jealous of Poonam's beauty, simplicity and charm, as her own daughter Chothi is overshadowed. Poonam, an orphan, has grown up in a small town, where her Chacha has brought her up. He agrees to meet Poonam just to please his dad and finds a woman he can really grow to love.Īn awkward, formal exchange of words grows into a deep, meaningful conversation as Prem and Poonam soon discover that they are soul mates. Prem may be an eligible bachelor, but he is not yet ready for marriage. Nonetheless, it has a strong second half and an equally strong emotional quotient to appeal to the Indian junta that tilts towards paarivaarik films, especially the family audiences. To sum up, VIVAH is not in the league of Sooraj's first two films in terms of content and music. It's unconventional, yes, and therein lies its strength. But the twist in the tale is completely unexpected. You have a nagging feeling that one of the characters might create problems. Deep inside, you know that a storm is brewing and it explodes in the second hour. Barjatya films, the best is reserved for the penultimate reels and VIVAH is no exception.
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Barjatya film, you just can't overlook the flaws: Its slow narrative and sub-standard music. But VIVAH is not without its share of blemishes. It faithfully follows the tradition of Rajshri movies of providing unadulterated entertainment. It packs in loads of desi sentiments in those 2.48 hours. VIVAH is very desi, very Indian at heart, seeped in Hindustani emotions. It re-introduces you to the traditional side, without getting orthodox. It re-introduces you to a world many of us may have forgotten thanks to the barrage of modern themes. Barjatya's VIVAH does a complete about-turn. The tide tilts towards contemporary themes concerning the urban Indian, while paarivaarik issues are consigned to television soaps. And with the multiplex junta in India as also NRIs zealously giving their mandate to these movies, metro-centric themes/issues are being dished out by dream merchants relentlessly. Urban themes with style and attitude are the order of the day.