Gustaakh Ishq Movie Review: A Visual Ode to Old-World Romance That Stumbles on Storytelling

In an era of Indian cinema dominated by high-octane action universes and fast-paced thrillers, Gustaakh Ishq arrives as a deliberate, languid pause. Produced by fashion maestro Manish Malhotra and directed by Vibhu Puri, the film attempts to transport audiences back to a 1990s India that feels curiously closer to the 1960s—a world of ink-stained fingers, crumbling havelis, and romance that simmers over cups of tea rather than text messages.

While the film succeeds in creating a stunning visual tapestry and features a masterclass performance by Naseeruddin Shah, it ultimately struggles to marry its poetic atmosphere with a compelling narrative backbone. It is a film that you want to love for its tehzeeb (etiquette) and texture, but one that tests your patience with its uneven pacing and predictable beats.

Film Details

Category	Details
Title	Gustaakh Ishq
Release Date	November 28, 2025
Director	Vibhu Puri
Cast	Vijay Varma, Fatima Sana Shaikh, Naseeruddin Shah, Sharib Hashmi
Runtime	2h 8m (128 minutes)
Genre	Romantic Drama
Music	Vishal Bhardwaj
Production	Stage 5 Productions
Language	Hindi

Plot Synopsis

The story is set in 1998, a transition period for India, though the production design frequently evokes a much older, pre-liberalization era. We follow Nawabuddin Saifuddin Rahman (Vijay Varma), the struggling owner of the ‘Mustaqbil Printing Press’ in Old Delhi. The press, a legacy left by his father, is on the brink of financial ruin. In a desperate bid to save his heritage from being sold off by his pragmatic brother Jumman, Nawabuddin concocts a plan: he must find the reclusive, legendary poet Aziz Beg (Naseeruddin Shah) and convince him to publish his never-before-seen verses.

Aziz Beg, having turned his back on fame and the commercialization of art due to a past “sin” that haunts him, lives in anonymity in Malerkotla, Punjab. He spends his days repairing watches and living a quiet life with his daughter, Minni (Fatima Sana Shaikh), and their loyal house help, Attachie (Sharib Hashmi).

Nawabuddin travels to Malerkotla and infiltrates the household under the guise of an aspiring shagird (disciple) eager to learn the nuances of Urdu poetry. As he slowly wins the trust of the grumpy but brilliant Aziz, he finds himself drawn to the quiet, melancholy Minni, who is dealing with the stigma of a broken marriage. What begins as a calculated business move transforms into a complex web of guilt, admiration, and love. Nawabuddin is torn between his original mission—stealing the poetry to save his press—and his growing reverence for the very people he plans to betray.

Detailed Critique

Themes and Atmosphere

Gustaakh Ishq is less about the romance between a man and a woman and more about a romance with the Urdu language itself. The film is steeped in nostalgia for a time when words held weight and art was created for the soul, not the marketplace. It explores the “death of the printing press” and the fading relevance of traditional poetry in a rapidly modernizing India.

However, the film suffers from a significant tonal confusion. While ostensibly set in 1998 (referenced by mentions of Kuch Kuch Hota Hai), the world-building feels anachronistic. The characters speak in heavy, ornamental Urdu and live in environments that scream the 1950s. This disconnect can be jarring; the film wants the aesthetic of the golden era with the timeline of the late 90s, and the two rarely mesh seamlessly.

Acting and Performances

The undeniable anchor of the film is Naseeruddin Shah. As Aziz Beg, he is magnificent. He wears the character’s weariness like a second skin, delivering lines with a casual brilliance that reminds us why he is a titan of Indian cinema. Whether he is reciting a sher or simply scolding his cat, Shah commands the screen. He perfectly captures the arrogance and vulnerability of an artist who knows his worth but refuses to sell it.

Vijay Varma, usually known for his darker, edgier roles, steps into the shoes of the romantic hero with mixed results. He brings a sincere vulnerability to Nawabuddin, playing the character with a restrained charm. His “lover boy” energy is surprisingly effective in the quiet moments, though he sometimes seems held back by the script, which doesn’t allow him the “messiness” or moral ambiguity that makes his other characters so compelling.

Fatima Sana Shaikh looks radiant and shares a tender, slow-burn chemistry with Varma. However, her character, Minni, is criminally underwritten. She exists largely as a reaction to the men around her—the daughter to the poet and the love interest to the protagonist. While she performs with grace, the screenplay denies her a robust internal life or agency, reducing her to a figure of “waiting.”

Sharib Hashmi, as the loyal Attachie, provides much-needed levity. His comic timing is impeccable, and he brings a warmth to the proceedings that prevents the film from becoming too self-serious.

Direction and Screenplay

Director Vibhu Puri, previously known for Hawaizaada, has a distinct visual flair, but his storytelling skills lag behind his aesthetic vision. The first half of the film is a breezy, enjoyable ride as we establish the world and the mentor-disciple relationship. The interplay between Nawab and Aziz is the film’s strongest asset.

The screenplay falters significantly in the second half. The central conflict—Nawab’s deception—is established early but is dragged out interminably. The transition from deception to redemption feels rushed and unearned. The “interval point” lacks punch, and the climax, while emotionally intended, feels generic. The narrative lacks the urgency required to sustain a two-hour runtime, often meandering into repetitive sequences of poetry recitals and rainy brooding sessions.

Visuals and Production Design

As the debut production of Manish Malhotra, one expects Gustaakh Ishq to be a visual treat, and it delivers. The cinematography by Manush Nandan is lush, bathing the screen in warm yellows, ambers, and soft shadows. The costumes are exquisite—perhaps too exquisite for the characters’ supposed economic struggles. Every frame looks like a painting, from the dust motes dancing in the sunlight of the printing press to the mist-covered courtyards of Malerkotla.

However, this beauty sometimes works against the film’s authenticity. The poverty feels stylized; the struggles feel manicured. It is a “designer” version of Old Delhi, beautiful to look at but lacking the grit and chaos of reality.

Sound and Music

The collaboration between Vishal Bhardwaj (music) and Gulzar (lyrics) is, on paper, the film’s biggest selling point. The soundtrack is soulful and melodious, with tracks like “Ul Jalool Ishq” standing out for their lyrical depth. The background score is evocative, effectively underscoring the film’s melancholic mood.

Yet, unlike their previous iconic collaborations (Omkara, Haider), the music here doesn’t quite transcend the film. The songs are pleasant companions to the narrative but lack the earworm quality or the dramatic punch to become standalone classics. They serve the mood well but disappear from memory shortly after the credits roll.

Strengths & Weaknesses

Strengths

• Naseeruddin Shah: A performance that elevates the entire material. His diction and screen presence are worth the ticket price alone.

• Visual Aesthetics: A beautifully shot film with top-tier production design and costumes. It is a visual feast for fans of period aesthetics.

• Chemistry: The mentor-student dynamic between Shah and Varma is engaging and heartwarming.

• Music: A soulful, if understated, score by Vishal Bhardwaj that complements the poetic theme.

Weaknesses

• Pacing: The film is sluggish, particularly in the post-interval portions. It feels longer than its 128-minute runtime.

• Predictable Plot: The storyline offers no surprises. The “liar revealed” trope is handled without any fresh twists.

• Underwritten Female Lead: Fatima Sana Shaikh is given little to do beyond looking wistful and supportive.

• Style Over Substance: The film prioritizes mood and visuals over a tight, logical narrative. The timeline inconsistencies (90s setting vs. 60s aesthetic) are distracting.

Final Verdict

Gustaakh Ishq is a film for the romantics—specifically, those who mourn the loss of adab (culture) and the slow pace of life. It is a loving tribute to Urdu poetry and the art of conversation. However, as a cinematic narrative, it is a “beautiful failure.” It builds a stunning world but forgets to fill it with a story that moves.

If you are a fan of Naseeruddin Shah or enjoy cinema that functions as visual poetry, this film will offer a warm, comforting watch. But if you are looking for a gripping drama or a passionate, high-stakes romance, Gustaakh Ishq may leave you feeling like you’ve read a beautiful book with several pages missing.

Rating: 3/5 Stars