‘Picture This’ Review: Prime Video’s Charming Rom-Com Remake Follows an Enterprising Photographer Speed Dating to Save Her Business

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Approximately one year after the romantic comedy “Five Blind Dates” debuted on Prime Video, another adaptation of the same story is set to appear on the same platform. At first glance, having two films with similar language and a shared narrative about a 29-year-old woman navigating personal and professional challenges might seem repetitive. However, “Picture This” demonstrates that it’s worth revisiting this topic. It delves into the familiar themes of finding strength in one’s passions, but distinguishes itself by presenting the tale through the lens of Indian culture. Director Prarthana Mohan’s interpretation is endearing, lighthearted, and heartfelt, demonstrating a keen awareness of what makes the original compelling and relatable.

As a London-based movie critic, I find myself captivated by the life of Pia, a photographer whose perspective on life is anything but ordinary. She thrives in her work and cherishes her independence, yet her world seems to be spiraling out of control. Her beloved studio, a testament to her late grandmother, is teetering on the brink of financial ruin due to her unwillingness to sacrifice her artistic principles for mundane tasks like passport photography. And as I watch her story unfold, it’s clear that her romantic life is equally disorganized, with no significant relationships in sight.

Thankfully, she has Jay by her side, a loyal employee and best friend who happens to be gay. He serves as a reliable confidant amidst the chaos that threatens to consume Pia’s life.

Just before the extended wedding celebrations of Pia’s sister Sonal begin, their demanding mother Laxmi announces that Pia will inherit the family heirloom, but only if she gets married. Instead of concocting a plan like “The Wedding Date” to hire a temporary groom and deceive her family, the filmmakers devise a more intelligent plotline where Pia agrees to go on five arranged blind dates set up by her family. On the fifth date, she will not only have found her future husband but also seen her business thrive. Eager to embrace this journey, Pia lets fate take its course. However, an old flame, Charlie, may rekindle feelings from their past.

Mohan and screenwriter Nikita Lalwani modify the solid structure of the original film while making subtle adjustments to amplify its impact. Although Pia’s encounters with her second suitor (Nikesh Patel) and their awkward predicaments remain recognizable, her other suitors undergo minor transformations for a more humorous effect. For instance, the arrogant, pompous son of a Bombay tycoon (Asim Chaudhry) is portrayed with neurotic quirks, while the eccentric spiritualist (Phil Dunster) is depicted with unconventional beliefs that raise doubts. However, these changes can be double-edged, as Pia’s misadventures with each character contribute to her character development but may not always generate laughter among the audience. This is because these characters are often excessively complex and the mishaps between them feel fabricated. Despite this, the film maintains a genuine intent; by the time date four arrives, we find ourselves deeply empathizing with Pia’s struggles, hoping she regains her determination to save her business, find love, and succeed in the end.

Moreover, Mohan and editor Gary Dollner creatively employ the technique of split-screen montages from the original work to visually emphasize the intensity of the heroine’s mission. These techniques are effectively used as transitions between scenes, providing a richer understanding of the atmosphere, activity, and vibrancy within these spaces. The film showcases an energetic pop aesthetic. On one side of the screen, Pia is depicted hurrying to meet her mother at the bank, symbolizing her hardships as an unlucky klutz. Meanwhile, on the other half, a traditional henna ceremony takes place, gracefully illustrating the allure of cultural beauty and unity.

Ashley, recognized primarily from “Bridgerton,” is a captivating lead actress. She’s adorably charming with great comedic timing, which makes her falls seem intentional. Her hairstyle and bright smile remind us of Julia Roberts in “My Best Friend’s Wedding.” Fetherston plays her Rupert Everett-like character. The male co-star delivers an impressive performance, both funny and tender, often stealing the show even from Tiffin in terms of charm. The film aims to portray Charlie as Pia’s personal Mr. Darcy, but fails to give him the same appeal as Ashley and Fetherston, either through dialogue or chemistry. While Tiffin is undeniably handsome, the script doesn’t provide the depth for him like it does for Ashley and Fetherston.

Similar to how Paolo Genovese’s “Perfect Strangers” series was swiftly remade globally, Nathan Ramos-Park and Shuang Hu’s original idea has a broad appeal that could attract filmmakers from various countries and cultures to adapt the story. This story has potential to thrive, much like how it does. With an intriguing element of romantic mysticism, reminiscent of “Only You,” this concept is highly marketable to audiences who enjoy watching strong female leads achieving their dreams.

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2025-03-06 05:05