Directed by debutante director Anu Menon, LPN has been released on March 02, 2012 in the theatres in Pakistan.

Following the idea of love-changes-with-cities, LPN, revolves around a ferociously philosophical feminist Lalitha or Lalithapedia–an aspiring political science exchange student, who finds a positive correlation between great kissing and producing fine children, and the ‘tharki’ Nikhil –a rich, spoilt brat heading to London to study film-making.

What keeps your eyes glued to the screens is the transition in both their characters that cruises from idealism and immaturity to rationality and sensibility. Yet what doesn’t die out is the genuine spark between them. Moreover, what works its power over audience is the no-pendulum like change, rather a progressive evolution and the variance in the three phases of their lives that transcends wardrobes, and is well-pitched in through their manners and ideology.

Ali Zafar, in all his strikingly sultry-sweet charms successfully galvanizes the audience, while Aditi Rao, in an admittedly compelling appearance sets up that sweet chemistry that managed to pull audiences towards cinema. Be it the candid sexual conversations, their chirpy accusations and engaging flirtations, their audience appeal as a couple plays a significant role in the movie’s success-as far as the initial reviews tell.

The movie’s brightest moments come during Nikhil and Lalitha’s bright-eyed flirtations in Paris, emotional transmission against the backdrops of the three rivers Thames, Seine and Hudson, and the cozy cocoon in the Paris hotel. There are episodes of emotional wallops especially when Ali Zafar breaks down into tears in the penult of the movie, and their somber departures each time they leave each other for their respective ambitions. Also, inspired moments of wit and humor that Ali Zafar delivers, sets the film apart from an average romantic staple.

The rendition of songs, Tumhe Dekhne Main and Madham Si Khamoshi, composed and sung by Ali Zafar has worked great on the spectrum of likeability. Also, the excellent cinematography gives us some of the most stylized episodes in the hip-urban locales of London, Paris and New York.

Before the launch of London Paris New York, around 70 % seats were already sold, thanks to the glitzy promos and Ali Zafar’s celebrity force field. The film has reaped reviews ranging from average to good from critics, who have vouched for the fact that it has imbibed a fresh breath in the classic contour of romantic comedies.

I wish the rest of London Paris New York were as well pitched. Written and directed by debutante Anu Menon, the film follows the crisscrossing paths of Nikhil and Lalitha over eight years. They meet, for one night only, in three different cities. What begins as a hesitant friendship evolves into passion and eventually a more mature love. The story echoes One Day, the Lone Scherfig film based on a best-selling novel, in which the man and woman meet on July 15 over twenty years.

Nikhil and Lalitha aren’t very different from Dexter and Emma in that film. Like Dexter, Nikhil is rich and somewhat spoilt and aimless. Like Emma, Lalitha is middle class and focused. But Lalitha, who stridently proclaims that she is a feminist and does work with an NGO, is slightly more annoying.

When an entire film is based on the meeting and parting of two individuals (who are thereby in every frame), it puts enormous pressure on the actors and writer. Both need to sparkle consistently. Even first-rate performers find it a tough act. One Day, which stars the Oscar-nominated Anne Hathaway and Jim Sturgess, is a big bore. I admire producers Goldie Behl and Shrishti Arya for eschewing the star route and casting fresh faces; the choice of Hydari, who till now has been relegated to supporting roles, is particularly brave.

But then the leads are made to fit into that over-familiar glam styling and foreign locations. In the Paris segment, Hydari struts around in mini-skirts, boots and an intriguingly bad wig. The look of course reflects her state of mind but it feels false. Hydari has a luminous presence – even as the bua in Delhi-6, she made an impact.  But here she seems to be working too hard to get the right mix of fluttering eyelashes, steeliness and vulnerability. Meanwhile Zafar relies too much on The Smolder – that smugly sexy look that the robber Flynn Rider gives Rapunzel in the Disney film Tangled.

The actors are also bogged down by the writing, which ranges from inspired (the climactic outburst mentioned above) to insipid. Too often, Menon resorts to formulaic character traits, so if Nikhil is a pretentious film school student, he must have a goatee and refer to Andrei Tarkovsky. London Paris New York has sufficiently seductive visuals of all three cities. In Paris, Lalitha, wearing only a sheet, has breakfast on a balcony with the Eiffel Tower looming large.  It’s postcard perfect but also a little plastic.

As is the film.

Starting today, Anupama Chopra becomes Hindustan Times’ film critic. Chopra has written on the Hindi film industry since 1993. Her work has been published in India Today, The New York Times, The Los Angeles Times, Variety and Sight & Sound. She presented and scripted a weekly film review show, Picture This, on NDTV 24/7. She is the author of four successful books on cinema, including the internationally acclaimed Bollywood: Shah Rukh Khan and the Seductive World of Indian Cinema, and Sholay: the Making of a Classic, which won a National Award.