The only truly decent thing to say about Teri Meri Kahaani is that the lead actors performed their roles well. The film actually encapsulates three stories in one, and therein lies the problem. There are three main issues with the film that make it unsatisfying in every way.The main problem with the film, and where the whole premise falls apart is that there is no true thread to tie these stories together. Without some common theme (aside from a very loose boy meets girl connection), the only thing that differentiates these stories is the time period (Set in the 60's, present day, and 1910). The second major problem is that despite trying to flesh out three stories entirely in two hours, Kunal Kohli does not give enough flesh to any of the stories in order to make you really enjoy them. The only story with any meat in it as well as having characters who are not completely reprehensible (the one set in the 1910's) is given as much or less screen time as the boring tale set in the present day. Finally, the movie fails in a big way as, with the little character development that we are given, we are urged to loathe or at the very least not care about most of the characters involved. Either Priyanka or Shahid's characters or both are cast in an unfavorable and somewhat confusing light in each of their various avatars, and, despite being so horrible and with so many issues, their stories just abruptly end in a way that is extremely unsatisfying to the viewer. The two rays of light for this picture are the beautiful Urdu poetry segments and songs and the refreshingly able Prachi Desai who shows in only a few minutes worth of screen time that she has true acting talent. That, however, is not enough. I would strongly recommend passing on this one as it will likely leave you completely unsatisfied.

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?

>> TERI MERI KAHAANI <<(+) :: Entertaining Songs Shahid's Performance Short Length Scenes(-) :: Predictable Kunal Kohli's Childish Direction Climax Hurry Storiese(SHAHID):: Awesome , Very Unlucky Doing These Type Movies. . What A Caliber And Talent Goes Waste Every time Except Kaminey ,Mausam & JabWeMet(PRIYANKA) :: Weird , Does Natural Acting Yes But Shahid Overpowers Her Totally Here(DIRECTION) :: Lame,Childish,Predictable,Old(SONGS) :: Sajid Wajid Sucks But Quite Hummable SongsVERDICT :: Give This A Try . . Sweet Entertainer [ watch like you are going to watch romantic version of housefull2 - no expectation of cinema but get entertain ]Clerification ~ 10/10 coz m shahid fan :P

"The film is not about reincarnation", exclaimed Director Kunal Kohli at the press conference of 'Teri Meri Kahani' at the Ritz Carlton, Dubai. It's about three different couples and their love story in three different eras i.e. pre-independence 1910, retro 1960 & social media 2012. Unfortunately casting the same actors for all three eras does confuse you about what the connection between the three stories is. Supposedly apart from true love nothing else.We start off with the year 1960; film star Rukhsar (Priyanka Chopra) meets musician Govind (Shahid Kapoor) on a train to Bombay and they're instantly attracted to each other. Maahi (Prachi Desai) is the third corner in the love triangle that ensues. Moving on to the year 2012 (London); Krish (Shahid Kapoor) breaks up with girlfriend Meera (Neha Sharma) and literally bumps into Radha (Priyanka Chopra). They get along "quoting Meera" like old jeans. A social media interruption and they go their separate ways. And now comes the interesting bit. Post interval, we meet playboy Javed (Shahid Kapoor) and hard to impress Aradhana (Priyanka Chopra) in Lahore in the year 1910. A jail term later, the lovers find themselves divided thanks to a change in marital status."Hum Tum" was a fantastic film. Kunal Kohli had done a brilliant job writing and directing it. Unfortunately apart from that, none of his other films have been particularly impressive in comparison. "Teri Meri Kahani" isn't very different from those films. Using pointless subplots (song and dance in the jail comes to mind) to reach the melodramatic scenes made it seem like he had run out of ideas. And that's where even the best era of the three fell apart. You can't take the viewers for a ride over a completely ridiculous premise.And then there were the extremely long love songs slowing down the film every time it picked up any pace. I get it that Hindi films need to have songs in them especially when it's a romantic love story. But do the actors really need to sing for five minutes just to proclaim their love for each other? What was wrong with the brilliant chemistry they were sharing? Isn't that enough?The use of blue/green screen (behind the scene shots showed in the credits) to create the 1960's era was reminiscence of the films that were made then. It was an interesting touch though not sure if it was intentional. The silent/Charlie Chaplin films touch was an honest attempt at comedy though it failed to impress. Computer generated graphics used to depict the Bombay of 1960s were average but got the job done and didn't detract from the story. Shahid Kapoor as Govind was adorable though the chemistry he shared with Priyanka Chopra seemed a little forced. There were plenty of cute moments but you don't feel bad when things go awry. Prachi Desai as Maahi was surprisingly good and effective.2012 was all about social media and getting drunk. I loved the way social networks i.e BBM, facebook, twitter etc. were used in this era, bringing people close or breaking their hearts. Unfortunately the highlight was the chemistry between Shahid Kapoor and Neha Sharma when they are breaking up. That's never a good thing for a love story. And seriously there is more to 2012 than falling in love overnight while being drunk (remember Ek Main Aur Ek Tu).Javed was by far the best character in the film. It was well written and brilliantly presented on screen. The chemistry between Shahid Kapoor and Priyanka Chopra was funny, lovable and heartwarming. Apart from unnecessary songs and (some) dialogues, this love story was the best of the three. You laugh along with them and even feel their despair when they cry.Even with its slow pace, I didn't mind the way the film was edited by Amitabh Shukla. Cinematography by Sunil Patel was well balanced with good camera work and well-designed sets. The music and background score were annoying and repetitive. Costumes weren't outlandish, which was a welcome change from other similar films.It's hard enough to get a love story right nowadays and it's understandable that trying to tell three in one film wasn't going to be easy. The problem doesn't lie with the concept but the way it's presented to the audience with its rough edges. In the end, yet another below-average Hindi film made a lot of promises but fell short in most of them.