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Teri Meri Kahaani
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Teri Meri Kahaani (2012) More at IMDbPro »

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Overview

User Rating:
4.7/10   2,440 votes »
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Director:
Writers:
Robin Bhatt (screenplay)
Kunal Kohli (story)
(more)
Contact:
View company contact information for Teri Meri Kahaani on IMDbPro.
Release Date:
21 June 2012 (Kuwait) See more »
Genre:
Tagline:
Thrice upon a love story
Plot:
The true love between a couple in 1910, 1960 and 2012. Their love is so strong that even destiny wants to bring them together. | Add synopsis »
Plot Keywords:
Awards:
3 nominations See more »
User Reviews:
The inspired concept of a love story happening in 3 different eras simply takes you no-where. See more (20 total) »

Cast

  (in credits order)

Shahid Kapoor ... Govind / Javed / Krrish

Priyanka Chopra ... Ruksar / Aradhana / Radha
Prachi Desai ... Mahi
Neha Sharma ... Meera
rest of cast listed alphabetically:
Raj Singh Arora

Greg Heffernan ... Officer Green

Omar Khan ... Mihir
Atul Sharma ... Wedding Guest
Tarun Sharma

Directed by
Kunal Kohli 
 
Writing credits
(in alphabetical order)
Robin Bhatt  screenplay
Kunal Kohli  story & screenplay
Surabhi Rumbles  screenplay based on an original story

Produced by
Vicky Bahri .... producer
Vivek Bhatnagar .... executive producer
Sanjana Chopra .... line producer
Patel Cyrus .... UK line producer
Andrew Heffernan .... executive producer
Kunal Kohli .... producer
Sunil Lulla .... producer
Ignatius Rapose .... assistant line producer
Alok Singh .... line producer
 
Original Music by
Sajid Ali  (as Sajid-Wajid)
Wajid Ali  (as Sajid-Wajid)
Sajid-Wajid 
Sandeep Shirodkar (background music)
 
Cinematography by
Sunil Patel (director of photography)
 
Film Editing by
Amitabh Shukla 
 
Casting by
Venetia Suchdev 
 
Production Design by
Muneesh Sappel 
 
Costume Design by
Dipika Lal 
Manish Malhotra 
Kunal Rawal 
Anirudh Singh 
 
Production Management
Janine Frank .... production manager
 
Second Unit Director or Assistant Director
Rahul Burman II .... assistant director
Binoy Gandhi .... associate director
Khyati Gosar .... second assistant director
Varun Lalwani .... first assistant director
Raj Mehta .... second assistant director
 
Art Department
Pallavi Bagga .... assistant property master
Koushal Chaudhary .... assistant art director
Amit Lad .... assistant art director
Narayan K. Padharia .... assistant art director
Hemlata Rao .... property master
Joanna Tattersall .... art supervisor: UK
 
Sound Department
Tony Babu .... effects editor
Boby John .... sound editor
Aravind V. Kumar .... adr engineer
Debasish Mishra .... sound
 
Visual Effects by
Dwivedi Amit .... digital compositor
Sagar Aphandkar .... digital compositor
Deep Banerjee .... lighting
Vishal Bansal .... digital compositor
Sachin Bole .... visual effects supervisor
Manoj Gohil .... compositor
Milind Kharade .... matte painter
Zarvan Kotwal .... visual effects artist
Piyush Pareek .... digital compositor
Rakesh .... matte painter
Mrinal Ranjan .... junior compositor
Sathiyakumar .... digital compositor
Sathiyakumar .... matchmove artist
Sridharan .... digital compositor: EyeQube Studios
Yatin Tamhane .... Compositing Lead (visual effects)
 
Camera and Electrical Department
Mel Hayward .... best boy: UK
 
Casting Department
Naila Mughal .... casting
 
Editorial Department
Rohan Desai .... digital intermediate supervisor
Kunjan Oza .... on-line smoke editor
Issac Vethanayagam .... digital intermediate editorial (trailer)
 
Music Department
Prasoon Joshi .... lyricist
Sandeep Shirodkar .... song programming
 
Transportation Department
Bruce Patel .... transportation captain
 
Other crew
Matt Betteridge .... location manager: uk
Sonal Joshi .... script supervisor
Ahmed Khan .... choreographer
Samantha Moran .... assistant extras coordinator
Chinni Prakash .... choreographer
Rekha Prakash .... choreographer
 

Production CompaniesDistributorsOther Companies

Additional Details

Country:
Language:
Color:
Color (35 mm version) | Color
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The rain sequence starting from the time Govind (Shahid Kapoor) left the train station till reaching his hotel is a tribute to Charlie Chaplen movies, including character mannerisms, walk, situations, and music.See more »
Goofs:
Revealing mistakes: In the 2012 Stratford-upon-Avon section, Krish has a photograph of himself and Radha on a scooter taken from the side of the road as they pass. He could not have obtained that shot.See more »
Quotes:
Govind:Love is only fleeting If it doesn't get you a beating.See more »
Movie Connections:
References Wrath of the Titans (2012)See more »

FAQ

Is this a remake of the Taiwanese movie 'Three Times'?
See more »
3 out of 5 people found the following review useful.
The inspired concept of a love story happening in 3 different eras simply takes you no-where., 23 August 2012
Author: bobbysing from India

Kunal Kohli has been associated with 'All Inspired Films" since his first venture & working on the same formula, he once again comes up with a film based on another borrowed idea, this time taken from a Taiwanese film called "Three Times" or "Zui Hao De Shi Guang". Reportedly Imtiaz Ali was also inspired from the same film for making his "Love Aaj Kal". But then he didn't blindly follow it and his script talked about the different eras as part of flashbacks related to his few key characters. Whereas in TERI MERI KAHAANI, Kunal adapts the concept as it is from the original giving it his own Indian touch in the three different eras.

Now where the original deals with 1911, 1966 and 2005, this present version deals with 1910, 1960 and 2012. But this time Kunal really works upon the inspired concept and majorly re-shapes it with his own vision converting it into a marginally interesting one. Honestly, I neither liked the Taiwanese film for its lifeless content nor I really loved the present unclear version of Kunal Kohli. However I would like to mention one big difference here, in the way a story can be conceived by two different directors making it more realistic in their own ways.

In TMK, when the script moves into 1910 we get to see the era depicted by colourful sets, people from different religions, British police officers and freedom fight struggle going on in the country along with few peppy songs. But when the Taiwanese film goes into the year 1911, its narration suddenly becomes mute as a silent movie….Why….because obviously it was an era of silent screen communicating with the audience through the running captions. And that's the difference between the vision of a creative director and a commercial one.

Talking about 3 distinctive love stories happening in 3 different eras in TERI MERI KAHAANI, it basically looks like a direction less project taking you no-where. As it begins with 1960s everything is fine and you enjoy watching the lively era without any major development in the story. But when the same keeps happening in the other two eras too then one becomes restless and starts looking for the basic purpose behind showing all this. In fact till the last 20 minutes of the film, both the viewer and the director remain clueless about what is happening on the screen in a strange manner. And when all the explanations are given in the final reels, one doesn't feel convinced or interested at all in the way it is depicted.

In short, the first era of the 60s remains the best out of the 3, whereas the representation of 1910 remains the weakest. In between these two, the 2012 version of the love story never rises above the average. So, where the initial 40 minutes of the film are refreshing, the rest showcasing the other two time periods simply give you nothing. And in the end, it really makes you think that why on earth Kunal chose this inspired subject when he never knew what he is going to do with it on the screen. The director also remains confused in his re-creation of the past, both in the sequences of 1910 and 1960. For example, he shows a big flex hoarding being displayed in the year 1960 whereas there were only handmade hoardings or multiple-sheet paper posters used in that time for publicity. Moreover, he takes too many liberties in depicting the complex 1910 era when India was still struggling under the British rule. But here the silver lining in the dark is that probably TERI MERI KAHAANI is the first film ever which takes the British rule over India in such a positive and cool manner. And I seriously wish this was done in a more appealing way because it could have actually turned the film into something interesting.

Technically, though it was quite cosmetic in looks but still I enjoyed watching the 1960s graphical representation (Set Designing & Cinematography) on screen and loved the spirit in this particular part of the film. But the same cannot be said about the 1910 era as its recreation was in fact way below the mark and not competent at all. In the performance section, both Shahid and Priyanka frankly had nothing to do in the script except looking good and keep smiling. The story doesn't give them the opportunity to display a wide variety of emotions and they both majorly remain the same throughout the film. Yet TMK can easily be called a Shahid's film more than Priyanka's. The pair does well particularly in the first half of the film but frankly I liked Prachi Desai's small cameo a lot better than Shahid-Priyanka's complete two hour act put together. Neha Sharma is OK looking quite different from her looks in CROOK and Vrajesh Hirjee is as usual fine in his role of a reporter or detective.

In all, the only merit of TERI MERI KAHAANI is its soundtrack which gives you some good foot tapping numbers keeping you engaged in its otherwise uninteresting storyline. Sajid-Wajid can easily include this film in the list of their better works as the duo's music truly remains the only hero in TMK unarguably.

So you can go for it, in case you love watching your favorite actors doing the same routine song-dance-drama on the screen in a feel good script without any basic storyline. It does have some cool, lovable moments in its 3 love stories happening in 3 different eras. But at the same time TERI MERI KAHAANI is also one of those unexplainable films which strongly forces you to think that 'How could a lackluster script of this kind get approved by such renowned and image-conscious Stars of the current times?" or "Do these actors ever read the script on which the film is supposed to be made or not?

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