On August 11, the trailer of the much-anticipated film, Sadak 2, dropped. ‘Much-anticipated’ might be an abused word. However, it is well-suited for this Mahesh Bhatt directorial venture, basically because the movie producer takes to the chief’s seat 20 years after Zakhm delivered in 1999. Sadak 2, in any case, is a street he shouldn’t have made. Talking simply from a film sweetheart’s viewpoint, Sadak 2, featuring Alia Bhatt, Sanjay Dutt and Aditya Roy Kapur in the number one spot, doesn’t energize us enough to sign in to Disney+Hotstar on August 28, additionally on the off chance that it wasn’t marked as the ‘sequel’ of Sadak (1991).
Add to that the nepotism line around the film and the straightforward truth that Mahesh Bhatt stays a curious connection in the Sushant Singh Rajput passing case because of his binds with Rhea Chakraborty, Alia Bhatt’s Sadak 2 trailer has gotten one of the most disdained trailers ever, with 90 lakh down choices on YouTube.
Regardless of whether we were to pass judgment on the film in disconnection, the trailer itself is cumbersome, the story a long way from energizing, and the exhibitions a few levels beneath normal.
For an age of film buffs, Sadak wouldn’t (tragically, however it should) ring a bell. The Sanjay Dutt and Pooja Bhatt-starrer remains one of Mahesh Bhatt’s bests. Yet, it isn’t Sanjay or Pooja that made it snap.
It was late entertainer Sadashiv Amrapurkar’s Maharani, a transsexual house of ill-repute proprietor that spooky you, grasped you, and attached you to the seat. Sadak 2 holds (scarcely) only two characters from the first film – Sanjay’s Ravi, a cabbie, and Pooja, his affection intrigue, which he later (probably) married, however, is presently no more. Maharani, despite everything, haunts us, ubiquitous, reminding us what incredible acting and screen nearness is.
