Two lovers on opposite sides of a religious and class divide fall in love just before their world falls apart in Kedarnath. The compelling central romance is eclipsed by a well-executed disaster sequence based on the tragic floods of June, 2013, which destroyed much of Kedarnath and killed thousands.
Mansoor (Sushant Singh Rajput) works as a porter, ferrying Hindu pilgrims and their belongings up the winding mountain path to Kedarnath Temple. He and the other Muslim porters and shopkeepers have a history of cooperation with the Hindu innkeepers, allowing everyone to make a steady living during the six months of the year that the temple is accessible.
An upstart Hindu landowner, Kullu (Nishant Dahiya), sees profit in building a fancy new hotel in the valley, increasing the number of pilgrims and displacing a number of shopkeepers in the process. Mansoor — whose mother’s shop would be demolished to make way for the hotel — argues that more buildings and pilgrims could put the infrastructure of the whole valley at risk. Briraaj (Nitish Bharadwaj), a Hindu priest, appreciates Mansoor’s dedication to Kedarnath despite not being a Hindu himself.
That appreciation only extends so far, however. Briraaj isn’t about to let his younger daughter, Mukku (Sara Ali Khan), date a Muslim. Mansoor’s relationship with her exposes simmering inter-religious divisions and provides a pretext for violence, led by Kullu, who’s engaged to Mukku after dumping her older sister, Brinda (the beautiful Pooja Gor). The floods hit before the town can erupt into full-scale riots.
Khan shows poise and charisma in her first film role, but Mukku is problematic. She has a lot in common with stereotypical Bollywood man-child protagonists in that she’s immature and unable to see things from other’s perspectives. She has no regard for how her romance with Mansoor affects him, his family, or the other Muslims in the valley, so confident is she that her desires are right simply because she desires them.
Unlike the typical man-child protagonist character arc in which he finds a woman who makes him aware of the world and his role in it, Mukku’s worldview doesn’t change. Her position as the privileged daughter of a powerful man makes her overestimate her ability to shape her world to her will. If she’s just persistent enough, she can break down Mansoor’s barriers and make him fall in love with her. That same persistence will get her out of her engagement to Kullu, she believes. She’s even convinced that she can influence cricket matches and the weather.
Having been mostly insulated from negative consequences thus far, Mukku fails to account for all of the other factors that influence the events in her life, like the desires of other people, the lucky bounce of a cricket ball, and the randomness of a natural disaster. Mukku’s arrogance makes one question whether, from a narrative standpoint, her star-crossed romance with Mansoor is a worthy enough endeavor to balance the deaths of thousands in raging floodwaters.
That balance undermines the vibrant romantic tension conjured by Khan and Rajput. This is Rajput’s most charming performance in years after lackluster outings in M.S. Dhoni: The Untold Story and Raabta, a reminder of how good he can be in the right role. It would be fun to see these two leads pair up again in the future after Khan gains more acting experience.
Director Abhishek Kapoor successfully blends practical effects with computer generated ones in Kedarnath‘s climactic disaster, with Rajput and Khan battling treacherous waters in thrilling sequences. The rarity of Bollywood disaster movies is perhaps reason enough to watch Kedarnath, coupled with the intrigued of a star scion’s debut (Khan’s father is Saif Ali Khan). If only the central romance matched the film’s spectacle.