Nembang breaks the spell

Kohi Mero has remained the talk of the town for the past few months mainly for two reasons: it was believed to be a comeback wagon for Jharana Bajracharya and secondly, it has a cast of promising actors like Aryan Sigdel and Sanchita Luitel. Moreover, the movie is directed by one of the most sought after filmmaker Alok Nembang.

Cut the crap and I must admit Kohi Mero had been receiving more space on facebook, television programs and newspapers than it actually would deserve. [break] After Sano Sansar, Kohi Mero certainly is another big thing for director Alok Nembang but the eight million flick shouldn’t be raved about for more than what it really is: “An old fashioned love story with a better presentation,” as the director himself admitted at a press conference a few days ago.

Despite having Nembang’s review on my mind, I was expecting the movie to offer more than Simos Sunuwar’s First Love, which was released three weeks ago. But I have to admit that Kohi Mero is a family entertainer and nothing extravagant.

Director Nembang should have maintained the originality of the script penned by Pravin Adhikary. Mixing the commercial elements in the script has ruined the beauty of the original script. Though two hours and ten minutes is not an eon, the plot really moves slowly at places.

Kohi Mero is a simple love story between three friends – Abhi (Aryan Sigdel), Prayash (Subash Thapa) and Aasna (Sanchita Luitel). Abhi and Prayash are best friends. Prayash and Aasna are childhood friends. That’s how Abhi and Aasna are friends too. Aasna is in love with Abhi and Prayash is in love with Aasna. After Prayash proposes Aasna, Abhi finds out that he is also in love with her but never confesses to her. Prayash and Aasna leave abroad for higher studies. The love triangle between the three and their never ending journey of confession is what follows throughout the movie.

Post intermission, the movie loses its flow and it’s difficult for the audience to connect themselves with the characters, dialogue and the screenplay.

Often tagged as Karan Johar of Nepal, it’s high time for director Alok Nembang to explore beyond Jomsom in his works. Though Jomsom is one of the finest locations for film shooting, Nembang needs to look for new locations to break that spell of déjàvu that audience have after watching his films.

Raju Bikram Thapa’s cinematography is exemplary, though not for capturing the picturesque landscape of Jomsom but the finesse with which he arrests ordinary places like the lane of Baber Mahal Revisited, to make them seem magnificent through the use of lights and framing. The panoramic view of Kathmandu and Chitwan certainly need special mention.

The soundtracks are a bonus.

Aryan Sigdel is growing as a better actor. His expressions are realistic. Though Jharana Bajracharya has very less to do in the movie, she is powerful in all that she gets to do. Newcomer Subash Thapa really needs to learn more if he is seriously considering an acting career. Sanchita Luitel fails to deliver what she is actually capable of.

The movie, however, is a break from the run-of-the-mill Nepali cinemas. Definitely, director Alok Nembang has succeeded in showing that with a little more of research Nepali films can get a new lease of life.

Go for it for the fine cinematography, music and packaging.

Screening at Jai Nepal and Kumari Cinema Hall.