It is worth mentioning that Khan in this new phase of his career when he is acknowledging his age gracefully, showing us a dash of gray and a whiff of wrinkles, is looking hot. Besides, there is such warmth in Kaira’s interactions with the Doc that it envelops the rest of the narrative too. It sags again occasionally thereafter, but never when he is around. His arrival immediately lifts Dear Zindagi. In fact, Doc Jehangir enters the picture just as the film is sagging and appears to be repeating itself. SRK gets less screen time but owns every scene he is a part of. That other MegaKhan, Aamir, took a similar gamble with rewarding results in Taare Zameen Par (2007), and this is a winning aspect of Dear Zindagi too. In a male-obsessed industry still tending to subordinate women in most mainstream projects, this is a decision that shows guts on Shinde’s part and Khan’s evident willingness to experiment. Bhatt’s Kaira is the focal point of the story from start to finish whereas Shah Rukh Khan – playing her therapist Dr Jehangir Khan – surfaces towards the latter part of the first half and is nowhere to be seen in the concluding scene. When one of the biggest stars in the history of Bollywood appears on screen about 40 minutes after the opening credits, it goes without saying that this is an extremely unconventional film. She ends up seeking professional help, and with some wise counsel, finds her answers herself. It does not take a degree in psychology for a viewer to figure out her behaviour patterns, but Kaira is naturally confused by her fears. Those insecurities lead her to deliberately hurt her boyfriends before they get a chance to hurt her. Dear Zindagi revolves around Kaira (Alia Bhatt), a talented young cinematographer in Mumbai who despises her parents, appears confident in her romantic relationships yet is ridden with insecurities about the men she is drawn to.

Dear zindagi movie review rajeev masand