Love per Square Foot

<p>The film revolves around Sanjay Kumar Chaturvedi, an IT engineer, and Kareena D’Souza. They both work in the same bank and dream of having their own home but are held back because of problems in their personal lives. Sanjay’s boss, Raashi Khurrana is having an extra-marital affair with him, but refuses to leave her husband, Kashin, while Kareena is betrothed to Samuel and constantly held back from her dream of owning a home, by her mother Blossom. Everything changes when Sanjay finds out about a joint housing scheme, and asks Kareena to apply for the scheme with him. She agrees and the movie portrays various problems they have as they are trying to buy the apartment as an unmarried couple. During the shooting of (2010) in , witnessed a couple fighting in the middle of Carter Road in , while he was heading to in a local train, where the same couple boarded the train and the fight continued in the train and they passionately hugged after that. He eventually stated as “the journey of love between Bandra and ” in an interview later, further adding that: “I always wanted to show relationships as they happen, as opposed to how they are shown in films”. The central idea of the film is whether ‘home’ is more important than ‘house’, whether the virtue of old-world understanding is more important than the more transactional love of today. I wanted to tell the story of today’s India, 60 percent of which is the youth. I wanted to reach the maximum number of people and I approached the story like a — there are songs and dances and whatnot. — , on the core concept of the script, in an interview with Anand wrote the script in late 2010, as a dark film initially, with , stating that the script is too dark, and it need to make the character likeable. He then discussed with his friends and , and decided to make it as a romantic comedy film. While shooting for , he and Sumeet went for a short trip to for 10 days, were Anand wrote the first draft of the film. He narrated the script to producer , at his office, whom eventually accepted to produce the film, after liking the script. The film marked Screwvala’s return to production after three years. Screwvala, the founder of , left the company in 2014, after announced its collaboration. It eventually marked its solo production under his banner . Initially, Anand wanted Sumeet Vyas to play the role of the protagonist Sanjay Chaturvedi; but the actor changed his mind, and insisted on , who personally worked with Anand and Sumeet in theatre workshops. The film’s casting director Honey Trehan suggested Kaushal’s name for the script. After being cast in the role, Kaushal stated at the in that “It’s a romantic story mixed with a comedy about a boy and girl trying to find a house in Mumbai. I have never been a part of a happy film. All my earlier films have been on the intense side, so I had a ball shooting for this one. My character Sanjay is ambitious and street-smart. This film will be a proper commercial Hindi film with a lot of dancing and singing incorporated in it”. was hired to play the female lead, in her second collaboration with Anand after . plays the role of Sanjay’s intimidating boss, Raashi, whereas , and , essayed the role of Kareena and Sanjay’s parents. made a cameo appearance in the film. began in December 2016, with the film being mostly shot around , and ended in January 2017. The entire film was shot within a duration of 50 days, including the songs, sequences and the patchwork. During the post-production process, Tiwari took about one-and-a-half months for the first cut and visual effects, with the rest of the dubbing, editing, and sound mixing lasted for two months, by which, the process was completed within three to four months. The film’s soundtrack album is composed and produced by , with lyrics for the songs were written by Abhishek Dhusia, Sahir Nawab, Sumeet Suvarna, , , Abhiruchi Chand, and Jamil. The soundtrack features vocals by , Shivangi Bhayana, , , Altamash Faridi, Abhishek Dhusia, Tarannum Malik, Sahir Nawab, and Sumeet Suvarna. Bhardwaj, also made an appearance in the film, as a classical singer, apart from singing the song “Raaz Apne Dil Ke”, which has two versions. The soundtrack album features seven tracks and was released by on 24 January 2018. Music critics Jay Palav and Anish Mohanty reviewed about the use of , , , and arrangements, and instrumentation in the soundtrack. Palav, praised the use of veteran singers, Udit Narayan, Altamash Faridi and Tarannum Malik, in the soundtrack, adding a verdict: “Sohail’s put up a winning OST, which is relatable, warm and accessible”. Mohanty, added the final word “After composing for (2016), he makes a good enough comeback to the film music scene with this film, and one looks forward to see the kind of music he rolls out with his upcoming releases”. It was taken to only as a pre-sale digital kind of conversation at that time. It was actually credit to Netflix that they came back and said that they have been doing a lot of interesting stuff as originals across the globe. They have been, for a while, wanting to figure out what would be their first Netflix original release here. Initially scheduled for a theatrical release on 8 September 2017, was pushed to 20 April 2018, due to post-production delays. Anand Tiwari later presented the final cut of the film, to the executives of headquarters in , with eventually picking it for a release in their platforms. In November 2017, Netflix officially announced the release on its platform, with becoming the first mainstream production from India to be made available on the streaming site. was preponed from its original scheduled date (20 April 2018), to 14 February 2018, in order to coincide the . The film’s official trailer was premiered on 18 January 2018. It was released as the first in more than 190 countries on 14 February. The film was showcased at on 26 April 2019. Rohit Vats of gave 3 out of 5 and stated “Love Per Square Foot doesn’t delve deep into matters of the heart, but it’s a feel good film for sure. Angira Dhar makes a promising debut and Vicky Kaushal shows his lighter side. Anand Tiwari handles romance with proper care and maturity. Love Per Square Foot is youthful, urbane and lovable.” Ektaa Malik of wrote: “The film has its heart in the right place and would have worked better had it been about twenty minutes shorter.” Kriti Tulsiani of wrote “If the name isn’t enough to bring a smile to your face, just sit back and relish the conundrums of love and space in the city of Mumbai.” Swetha Ramakrishnan of gave 3.5 out of 5 stating “Love Per Square Foot is what happens when you have an authentic setting, a stellar cast, the right intentions and good writing all mixed into one film.” Dipti Kahrude of wrote “In popular culture, millennial lives are almost synonymous with galloping digitization. instead directs its gaze on the middle class realities and aspirations of millennials living with their parents in cramped houses, with no privacy of bedrooms of their own. It bracingly avoids defining them merely by technology. The film may not break thrilling new ground with its subject but the observational humour in the dialogue, the bevy of supporting characters, earnest performances and an assured directorial debut make it worth a watch.” Rajat Tripathi of gave 3.5 out of 5 and wrote “If you are a love bug, Love Per Square Foot will certainly tug at your heartstrings and make you feel giddy. It is the perfect romantic film that we were waiting for. It is the cutest film that has released in the longest time. However, if you are not a sucker for romance, you might want to avoid it.” Rahul Desai of gave 3 out of 5 and stated “The film merely uses “space” as a generic trigger to communicate the city’s diverse stereotypes.” Deepali Singh of gave 2.5 out of 5 and stated “The plot takes a predictable turn towards the end when you know that all’s going to end well after all.” Malika Bhagat of gave 3 out of 5 stating “The fact that the end panders to the typical romantic in us is why fails to live up to the hype.” Avinash Ramachandiran of wrote “Love Per Square Foot falls in the space of those bitter-sweet dramas about the housing space that we saw in the 1970s.”</p>