Ek Deewane Ki Deewaniyat (2025) Review!!

Synopsis – When a powerful politician falls for a strong-willed superstar, their passionate romance quickly spirals into a dangerous game of obsession, pride, and heartbreak.

My Take – Anyone aware of Milap Milan Zaveri‘s filmography should know that the writer-director, irrespective of the genre, believes in delivering unapologetic loud 80s-style masala content. Unsurprisingly for his latest too, he has used the same approach.

But while he (and the producers backing him) were hoping to cash in on Harshvardhan Rane‘s sudden rise in popularity, following the re-release success of 2016’s Sanam Teri Kasam, in a new tale of mad love, they end up selling the idea of absurd obsession as love and toxic masculinity, that too with a protagonist who believes consent is optional.

The film, backed by decent performances and good music, had all the potential to be a real and edgy romantic thriller, but its terrible script, co-written by Milap Zaveri and Mushtaq Shiekh (Om Shanti Om), works more like a 141-minute long music video of tight reaction shots, slow-mo emotions, designer entry shots, personality twists and lone tear-drops.

Sure, Harshvardhan Rane and Sonam Bajwa look effortlessly good and share undeniable on-screen chemistry, but the film is so devoted to its trashy thought process that it remains focused only on ticking off the worst of 90s cinema’s preposterous romance clichés, making the whole expression infuriating and far from the intended emotionally stirring. Glorifying the very traits that modern love stories have moved past.

Watch this one only if you’re a fan of old-school melodramatic love stories and have any kind of patience for absolute red flags disguised as passion. It’s a miracle that something like this exists in 2025.

The story follows Vikramaditya Aditya Bhosle (Harshvardhan Rane), a young rising politician, who revels in the power and influence created by the many years of effort and patience of his father (Sachin Khedekar). But while the hype surrounding him to become the next CM in the upcoming elections in Maharashtra begins to reach an all-time high, everything goes for a toss when he lays his eyes on Adaa Randhawa (Sonam Bajwa), a popular actor and rising starlet, and immediately falls in love.

And after a few attempts to be friendly, he just lays out his love in front of her, but unfortunately for Vikram, Adaa rejects his advances. However, Vikram isn’t one to pay heed the concept of consent and declares that Adaa will be his lawfully wedded wife within the next month, thus beginning a passionate romance tale that quickly spirals into a dangerous game of obsession, pride, and heartbreak.

From there on it’s just push-and-pull between the leads, where every emotion, dialogue, expression and song is dialed up to make you believe you are watching the ultimate heartbreak story. That is until half way through it takes an absurd turn.

Agreed, there’s novelty to the idea of a woman, taking the fight to a chauvinistic man. The concept is exciting. Imagine a woman doesn’t get intimidated by a man flexing his political might. Instead, she throws him a curve ball by going on a rampage of her own unhinged machinations.

To make matters worse, the screenplay which was highlighting Vikram’s problematic character in the first half begins to sympathize with him in the second half. Yes, Vikram is emotionally torturing Adaa, but at least he won’t force himself on her.

Also, whoever wrote the dialogues thought that making them rhyme makes them deep and memorable. Nope, it simply makes them dumb and nonsensical. Not only does the film have rhyming dialogue, but it also sermonizes, and there’s some random poetry, but nothing interesting.

Indeed, the music, composed with sincerity, is one of the few redeeming elements. Tracks like “Mera Hua” linger long after the film ends, though they deserved a better story to live in.

The same goes for the lead performances. Harshvardhan Rane carries the entire film on his shoulders. He has nailed the look of longing, love and pain and manages to let his eyes do the talking. His strong screen presence is unmissable, but the film did him a disservice. Sonam Bajwa looks stunning but performs even better. Her emotional range from innocence to agony feels effortless. This is her most layered role yet. The chemistry between the two is sizzling even though the film isn’t.

In supporting roles, Shaad Randhawa, Sachin Khedekar and Ananth Narayan Mahadev are decent, while the rest are just hamming all the way. On the whole, ‘Ek Deewane Ki Deewaniyat‘ is a ludicrous love saga that despite decent performances falls apart in its approach and execution.