Karle Pyaar Karle (KPK) is cinema born in the ’80s, rechristened in 2014. While the film has been lavishly mounted because it supports Bollywood’s nepotism, practice of a producer (Suneel Darshan) making a show reel for his son ( Shiv Darshan), scant respect is paid to even trying to give you a halfway decent story with contemporary treatment. Instead, you are introduced to Shiv’s (Kabir) skills to ride, fight, dance, romance and cry in that order.
Keeping him company is a girl Hasleen (Preet). Borrowing other characters like a group of bad boys, some nerds and some more scantily clad girls straight out of 1970s-80s cinema, the film has a string of artificially created situations – like a bike ride, a fight, a lap-dance, a kiss, all strung together with one obvious objective. ‘Hello – please meet my son. He has decided to become an actor. And he needs to show you what he is capable of while you stay captive. Also while you fidget in your seat, please check out the new girl we chose for him to romance. She can parade in a bikini, sing, dance and mouth some audacious lines.’
Dialogue like ‘either you have *shit in your b*m or dum in your b*m*’ make you cringe. The film is full of cliches of mainstream cinema. And the characters, like the parents of the boy, the quiet suffering mother of the girl, the villain (DG) who owns a meat factory, his spoilt son (Jazz), the son’s sidekick (Goldie), are caricatures that have been a part of Bollywood potboilers for eons. It’s time to bury these fast and furiously, rather than attempt to glorify them like KPK does.
For a debut, Shiv displays a tiny spark. Hasleen shows spunk.
Separated childhood friends Kabir and Preet meet after a decade and find themselves drawn to one another. They play truth or dare games that turn out to be perilously dangerous.
The Times of India