The two find themselves living in Guddu’s family home as a married couple without ever having exchanged vows. A quickly made-up tale of the two being married spirals out of control as Rashmi’s father gets involved. The thorn in Guddu’s flesh is his meddlesome relative Babulal (Pankaj Tripathi) who finds his love nest and brings the entire family – parents, brothers, sister-in-law and nephew - there. They head to Gwalior – pronounced ‘Gawalior’, as is the wont in the region - on the pretext of conducting a journalism project and take an apartment, without telling their families.
It is left to Abbas to find a way for the young lovers to find a sanctuary outside the confines of a small-town. Love soon blossoms between Kriti and Kartik, but instead of taking the saat pheras, Rashmi wants to test their compatibility via a live-in. The trio scours Mathura - doing a vox pop of sorts to understand what people largely feel about the divisive topic of live-in relationships the best comments come from where we least expect it – a man clad in saffron. The two soon become a team, joined by Aparshakti Khurana’s Abbas – the channel’s cameraman. Kartik Aaryan’s Guddu, with his spiked hair and the reputation of being a one-star kalaakar, is the star of the local news channel.
Rashmi (Kriti Sanon) is his daughter, who has returned home to Mathura after finishing her journalism course in Delhi. Heading this organization is Vinay Pathak’s Vishnu Trivedi, whose religious grandstanding is in the hope of winning the upcoming election. Luka Chuppi review: Kartik Aaryan’s character is a far cry from his earlier misogynistic films.
They can’t beat up Khan for destroying our sanskriti, so they do the next best thing – attack defenceless lovers in the by-lanes of Mathura. Film actor Nazeem Khan (Abhinav Shukla) becomes the enemy number one of the Sanskriti Raksha Manch – the name is self explanatory – after he accepts that he is in a live-in relationship. After a slew of excellent small-town dramas, my expectations are high and my patience thin.Īt the heart of the story is the moral policing in India and the refusal of our self-appointed moral guardians to allow any kind of sexual agency to the youth over their own lives. Sure, it has its moments and the second half is largely enjoyable, but you have to wait for the fun. In the above two paragraphs lies the inherent problem with Luka Chuppi – it takes good material and excellent performers and turns them into caricatures.
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