‘Sanam Teri Kasam’ , starring Mawra Hocane and Harshvardhan Rane, not to be confused with the ’82 film of the same name, is a manual of how Not to make a contemporary romantic film.

This cliched love story doesn’t do justice to Mawra Hocane, Harshvardhan Rane’s potential as actors…

All the time weeping — everybody weeps one by one and then they weep in unison and then again they weep some more, solo, till we come to the point where some intense, quivering sort of love happens that makes us want to slip into the final death throes while screaming, “Abe yaar Inder, shaadi kar le na, please. Otherwise we’ll marry her and put her out of her misery.”

Apart from the music, Mawra and Harshvardhan’s chemistry is the only saving grace…

Sanam Teri Kasam is excruciatingly painful. The torture it inflicts has as much to do with its length as with what transpires between the start and end points.

This is an unmitigated disaster, a travesty of the medium that only a miracle can save from sinking without a trace.

Aashiqui 2 did a good job at bringing back the 90s’ melodramatic romance back but Sanam Teri Kasam is barely as compelling.

…one of those films that should have been made in the 80’s, when such themes might have been better accepted. Or better yet, it shouldn’t have been made at all.

Sanam Teri Kasam has two newcomers who deserved a better launch. Hopefully their choices after this will make us forget this dull affair.

A romantic, cloying story to avoid at all costs…

Sanam Teri Kasam is like watching Aashiqui 2; there is lots of weeping on both sides and the audiences are forced to go through so much drama.

…a decent assortment of good performances and superb music. However, the excessive length of the film will act as a biggest single drawback at the box-office.

This film is like fast food for teenagers. If you’re in college and you have a girlfriend and/or boyfriend you’ll sink in your chair and probably shed a tear or two. But even the target audience will agree that the end just stretches on and on. At 2 hours and 40 minutes, the runtime is unnecessarily bloated. The big Hollywood hangover doesn’t help either. This film definitely had potential, but it needed better execution and a lot less yawns. 

…senseless merry-go-round! Right towards the end the director duo throw in a sickness element in the hope of salvaging the drowning ship. But no, nothing can be done because by then the ship has hit rock bottom.

By the time you reach the climax, you just want to get done with this soppy romance and get on with your own life. Also, the editor seems to have gone off to sleep somewhere in between.

Sanam Teri Kasam moves forward with no lofty aspirations, except to tell a tale of star-crossed lovers with charm, simplicity and sincerity. It succeeds in doing that.

…the story is decently fleshed out and all smoking guns covered. The trailer with the songs is very misleading and makes it look like one of those ‘also ran’ movies. But it isn’t like that. It is a decent story that only fails because at 154 minutes, the end is so long drawn.

Perhaps it is the last fifteen minutes of the film, which drags a bit and given the few cinematic liberties that the directors have taken, becomes a little mawkish. Else, theirs is a love story that will touch your heart without a doubt.

With a run time of 155 minutes, a substantial measure of the first half is spent on the lives of these two individuals before they meet and what comes about when their paths eventually converge. Not only is the narrative a typical love story, it also reinforces discarded gender stereotypes. Though it has nothing new to offer, the film offers respite at an interesting point- an unanswered question.

Sanam Teri Kasam had potential in the form of two promising debutantes Mawra Hocane and Harshavardhan Rane, but a regressive script and over the top direction killed it from becoming more than just another tragic love story.

If you’re the viewer, this curse lifts after 154 minutes, by which time we’ve been introduced to Mumbai’s most forgiving cop, the worst fiancée in the world and the most literal interpretation of the phrase “You’re dead to me”.

This one is sheer torture for its regressive take on everything, save for a few bright moments when Hocane is onscreen.

Go with a boxful of tissues if you cry easily at the movies. If you are as cold-hearted as I am you’ll be left scratching your head and perennially looking at the watch hoping for things to wrap up fast. Alas, they don’t.

The film is satisfactorily bearable in the first half but is an absolute torment in the second half. Harshvardhan Rane and Mawra Hocane look good together and it seems like they do have a bright future in Bollywood. Apart from that, the plot of the film is utterly disastrous.

In a nutshell it’s a same old ugly duckling story which goes on for 2 hours 35 minutes…

A Long Road to Nowhere…