Advait Chandan Tweaks Tamil Hit Love Today In Hindi

While the Tamil version of Love Today  was directed by the film’s leading man Pradeep Ranganathan, the remake, drastically removed  from the original,  is directed  by Aamir Khan’s favourite  contemporary director Advait Chandan who has  tweaked  the original rigorously and sensibly for a pan-India audience.

Indeed the Hindi remake is not only a marked improvement on the original, Junaid and Khushi are vastly superior to the original actors. They are bound to be the Sophomore Stars  of 2025.

 Both the newcomers Junaid Khan and Khushi Kapoor in  the Hindi remake of  the Tamil hit Love Today  are actually semi-newcomers  who were part of  much-hyped but deeply disappointing  OTT feature  films on Netflix:  Khushi was seen in that monstrous  misfire  The Archies, while Junaid made his debut in Netflix’s ambiguously received Maharaja.

 Both are all set for an all-new launch in producer Madhu Mantena’s eagerly anticipated  remake  of the hit Tamil rom-com Love Today.The  original Tamil film was  fresh and engaging.It aws almost entirely devoted to doing a  savoury  probe  into the  culture of the smartphone . The  phone  is indeed the central  character  of the  devious plot.

Pradeep Ranganathan  who wrote the screenplay based on his own  short  film App(a) Lock, is  a man of ideas. Though saturated in  schmaltz sweetness and  foreseeable  solutions  to tangles in  the repartee-heavy  plot, the screenplay in spite of its  filminess(as in filmy and flimsy)  succeeds in  tearing out a telling point on how pathologically dependent modern  relationships have become on the content  of one’s phone.

The  film aptly  begins at a smartphone factory where we see phones being churned  out, then  moves  to a  phone outlet where our unlikely hero  Pradeep(played  by the writer-director) buys  a phone for his girlfriend Ivana(Nikitha)  who must  now find a way to explain the  expensive gift to her father.From  this  common middleclass smartphone-related  crisis  the  narrative constructs  a  clever if somewhat  exaggerated  and mildly  dystopian  plot about the  paranoia that  love relationships  suffer due to the phone.