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Ek Ladki Ko Dekha Toh Aisa Laga Movie Leaked Online

Ek Ladki Ko Dekha Toh Aisa Laga Movie Leaked Online
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Ek Ladki Ko Dekha Toh Aisa Laga has just hit the theatres and it has already captured fans heart. The film is getting positive reviews from critics as well as audience. You should go for Ek Ladki Ko Dekha Toh Aisa Laga Full Movie Download.

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READ: Ek Ladki Ko Dekha Toh Aisa Laga Box Office Collection Day 1

Review –

First –

Sweety (Sonam K Ahuja) keeps running into Sahil Mirza (Rajkummar Rao) at a venue in Delhi and for him, it’s all consuming, instant adoration.

While by then she is fleeing in a pursuit, he chooses to seek after her and movements base to Moga, Punjab. When he proposes to Sweety, the story unfurls as he discovers that she is infatuated with another person.

Romantic tales can get very worn out, yet when you talk about new age sentiment, the discussions can get quite intricate and fascinating.

‘Ek Ladki Ko Dekha Toh Aisa Laga’ (‘ELKDTAL’) is an eccentric story of discovering adoration and acknowledgment. The film utilizes decent amount of generalizations to recount a cutting edge and important story.

The way that it brings a still specialty subject like homosexuality, to a standard motion picture, is one of its qualities.

Fortunately, the dynamic subject and passionate remainder of the motion picture, enable it to transcend a screenplay that needs sheen.

The film begins off with the customary kid meets-young lady setup, where Sahil winds up diverted by feeling. An irregular, yet pretty young lady, Sweety, gets his hand and maneuvers him into a pursuit.

What’s more, the kid, as you’d anticipate, experiences passionate feelings and sets off on a way to follow the young lady down and pronounce his undying affection.

A large portion of the film’s first half is spent in setting up this somewhat antiquated depiction of romance.

The young lady’s loveable, however preservationist Punjabi family is additionally pooled into the story as the typical Beeji (Madhumalti Kapoor), Veerji (Abhishek Duhan) and Papaji, Balbir (Anil Kapoor) acquire the quintessential family show.

The film invests excessively much energy setting up the intentional, yet deceptive track that is basically, developing to Sweety’s definitive admission.

When she comes out and uncover that the sentiment between the kid and young lady won’t emerge, the film as well, switches gears.

The second half, while still somewhat unsurprising, takes part in a delicate and lovely depiction of a young lady feeling caught by her own feelings.

The story’s track of a dad dealing with the sexuality and the smothered feelings of his girl is contacting.

In spite of the fact that somewhat dramatic, ‘ELKDTAL’ advances a dynamic and vital discussion around close to home emotions and the genuine freeing nature of adoration.

The majority of this happens, in the best time and engaging style, which in a way is the quality of the motion picture, as well.

The greater part of the stimulation gets through the exhibitions by Anil Kapoor, Juhi Chawla and Rajkummar Rao.

Sonam K Ahuja assumes the focal job and keeping in mind that she manages to get the expected weakness to her character, she doesn’t generally persuade you regarding Sweety’s enthusiastic clash.

However, some stunning exhibitions by Anil Kapoor and Rajkummar Rao add a veritable punch to the procedures. The charming lighthearted comedy among Kapoor and Chawla is a certain shot champ, as well.

Supporting exhibitions by Madhumalti Kapoor, Abhishek Duhan, Regina, Seema Pahwa and Brijendra Kala are largely choice.

Essayist chief Shelly Chopra Dhar and co-author Gazal Dhaliwal (who recently composed Irrfan’s ‘Qarib Singlle’) figure out how to start off some quite intriguing thoughts of affection.

Truly, their film manages sexuality and looking for acknowledgment from the more established and that’s only the tip of the iceberg moderate relatives, yet at the center, ‘ELKDTAL’ discusses love being an all inclusive inclination, one that can’t be shackled by societal standards and diktats.

The composition isn’t all best grade, yet this film has its heart in the perfect place and once in a while that is all that truly matters.

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READ: Ek Ladki Ko Dekha Toh Aisa Laga box office collection Day 2

Second –

The principal standard Hindi film that, to some degree tremulously, suggests the subject of same-sex love, Ek Ladki Ko Dekha Toh Aisa Laga is anything but difficult to identify with and get a handle on notwithstanding, or might owe, its basically cleaned facade.

It sails to unfamiliar parts and voyages miles, yet it does as such without causing trouble too viciously.

At last, it is a touchy, delicate and humor-bound acting that pivots as much on the connection between a desolate, misconstrued residential area Punjab young lady and her hovering father as on the champion’s sexual introduction, which drives her into a hard to-break shell.

Screenwriter Gazal Dhaliwal (who has additionally written the famously relatable discourse) and chief and co-essayist Shelly Chopra Dhar bestow a respectable agreeability to the story, which springs its shocks without appearing to be excessively radical in its depiction of sexual orientation personality and homosexuality.

Ideas like bimari (ailment), ordinariness and family respect are summoned over and over and clearly, and a lady’s inward unrest as she battles for the directly to lead her life all alone terms is treated with restriction and compassion.

The film’s even tone is improved by the limited exhibitions from the key individuals from the fabulous gathering cast.

The nature of the composing is best exemplified not just by the way in which Ek Ladki Ko Dekha… pricks the instilled predispositions of the female hero’s family, explained principally by the explosions of an excessively forceful senior sibling (played with surprising elan by Abhishek Duhan), yet additionally by the gradually beneficial outcome that the unfurling story has on the group of onlookers.

At the point when the courageous woman turns out – first with an inquiry (Zaroori hai kya mujhe ek munde se hello there pyar ho?) and afterward with a firm explanation (Main ek ladki se pyaar karti hoon. Period.) – the clueless man who is besotted with her breaks into tanked giggling.

One presumes even the crowd does only that, if not perceptibly. The darling rushes to lament his foolish response.

The group of onlookers takes somewhat longer to warm up to the young lady’s battles however begins to see (a long time before the peak) the point that the film is making.

Battling dramatist Saahil Mirza (Rajkummar Rao), the extravagant child of a film maker who taunts him for straying into the flimsy universe of theater, pursues his dream, Sweety Chaudhary (Sonam K Ahuja), from Delhi to Punjab’s Moga town and keeps running into her conventional representative father (Anil Kapoor) and his family and a ‘mystery’ that disturbs every one of his arrangements.

A play-inside a film gadget conveys to the fore since quite a while ago stifled substances and powers the family, nay the whole town, to defy its biases.

Anil Kapoor, as usual, gets totally into the swing of things and livens up the film with his essence.

Sonam, all around served by the angularities of a screen persona that keeps presumptuousness under control, extends a persuading blend regarding powerlessness and statement such that no one but she can.

Rajkummar Rao is as astonishingly pitch-impeccable as ever. It takes a genuinely sure performer to fight the temptation to bite up the scenes he is in and rather subsume himself totally in the quintessence of the film.

Juhi Chawla is an outright joy, a brilliantly beguiling scene-stealer.

Truth be told, every one of the real characters in the film profits by impeccable throwing.

Seema Pahwa, as the lady accountable for the Chaudhary family kitchen, and Brijendra Kala, playing the nosey family jack of all trades, offer brilliant lighthearted element, as does Madhumalti Kapoor in the job of the female authority who experiences considerable difficulties keeping her single man child, a pieces of clothing manufacturing plant proprietor who still regrets not having understood his fantasy of becoming showbiz royalty as a gourmet specialist, far from the kitchen and cookery appears.

Frustrated desires are at the core of this story and it isn’t just Sweety whose life is soured.

The character attempted by Juhi Chawla, a little time Delhi cook who supplies nourishment to a theater troupe, supports the expectation of one day getting to be what she has for the longest time been itching to be – an on-screen character.

In these little stories woven around the bigger critical one of a young lady frantic to be comprehended and acknowledged for what she is, the screenplay maneuvers into its crease a larger truth that gazes us in the face: we are all ‘extraordinary’ and require the space to end up who we want to be.

With regards to a business filmmaking convention that has more often than not been horrifyingly heartless of LGBTQ sensibilities, Ek Ladki Ko Dekha… is a whiff of natural air, a gigantic jump forward from 2008’s Dostana.

It doesn’t try to get jollity and silliness from the subject, offering rather a sincere, proud portrayal of the demonstration of turning out in a moderate society.

The story is basic enough and is told in a way that could be blamed for being excessively virtuous – the equivalent sex sweethearts grasp a couple of times yet they don’t as much as plant a kiss on one another’s cheeks, not to mention lips – yet the film accomplishes something far greater than a Bollywood swarm pleaser can.

Ek Ladki Ko Dekha Toh Aisa Laga is a critical film due to its provenance (it originates from Vidhu Vinod Chopra’s generation stable) and furthermore in light of the help of Bollywood on-screen characters who’ve challenged.

The glow and wry mind that the film is framed in improves it that much.

Ek Ladki Ko Dekha… urges the group of onlookers to think distinctively without endeavoring to digress from its basic role, which is to convey excitement.

It does the last all around ok but does not excessively weaken its topsy turvy vision. No mean accomplishment that.

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