In a year already crowded with emotionally driven dramas, Saiyaara, released on July 18, arrives with a promising premise but ultimately delivers a muddled cinematic experience. Directed by Mohit Suri and produced by Yash Raj Films, the film features debutants Ahaan Panday and Aneet Padda in lead roles, attempting to explore the devastating impact of early-onset Alzheimer’s disease through the lens of a passionate yet fragmented love story.
At first glance, Saiyaara appears to be a much-needed mainstream film attempting to spotlight a rarely addressed but deeply important issue. Built on the concept of what happens when the mind begins to forget not just names, but faces, places, and the very essence of love, is powerful and timely.
In an age where memory loss is increasingly being recognised as more than just old age catching up, Saiyaara seems like a welcome intervention. Unfortunately, what should have been a poignant, steady unraveling of emotional trauma and relational decay instead becomes a tangled patchwork of half-baked subplots and shifting emotional tones.
Narratively, the film suffers from a chronic identity crisis. While the central theme of Alzheimer’s hovers in the background, it is repeatedly sidetracked by erratic storytelling choices. The plot twists emerge abruptly, conflicts morph without warning, and every few scenes seem to reset the emotional stakes.
Altogether, this creates a kind of narrative fatigue, where the audience struggles to stay invested in a storyline that refuses to sit still long enough to mature. There are moments of genuine emotional resonance, but these are undercut by an overly dramatised tone and an apparent obsession with style over substance.
Visually and musically, Saiyaara carries the Suri signature, full of brooding frames, sweeping slow-motion shots, and a soundtrack that yearns to recreate the magic of Aashiqui 2 or Rockstar.
Some sequences are so heavily stylised that they feel transplanted from older romantic dramas. The resemblance to films like Sanam Teri Kasam is hard to miss, with certain montages evoking déjà vu rather than originality. While the music itself is catchy and likely to trend, it often overwhelms the narrative rather than enhancing it.
Ahaan Panday, in his debut, shows considerable potential. He brings an earnest vulnerability to his role as Krish Kapoor, a struggling musician grappling with the decline of the woman he loves. His performance, though occasionally rough around the edges, suggests promise for future projects.
Aneet Padda as Vaani is understated, embodying a quiet sadness that aligns with the theme, although her character often gets lost in the script’s chaos. The supporting cast, though competent, is not given enough room to leave a lasting impact.
Despite its storytelling flaws, Saiyaara has enjoyed a spectacular opening at the box office. According to reports, the film has collected Rs. 83 crore over its opening weekend, making it one of the highest opening weekends for a debut-led film this year. While this commercial success is commendable, it also underscores the growing divide between audience reception and critical depth in contemporary Bollywood.
To label Saiyaara as the next Aashiqui, as some enthusiastic fans and promotional materials have suggested, would be a stretch. The film lacks the narrative coherence and emotional build-up that made its predecessors iconic.
Rather, Saiyaara feels like an ambitious patchwork quilt stitched together from the emotional high points of multiple films, without allowing any one thread to shine. It tries to be too many things at once: a romance, a tragedy, a musical, a message film, and ends up being none of them with conviction.
In the end, Saiyaara is a watchable but forgettable experience. It is the kind of film that might move you in moments but leave you unsatisfied by the time the credits roll.
For audiences seeking a layered portrayal of a devastating illness and its impact on relationships, this may fall short. For fans of stylised melodrama and musical heartbreak, it may just suffice.
