The last few minutes of "Highway" are very awkward,Įspecially in contrast to the lyrical sweep of the previous hour and a half or so, and lead to an extremely muddled final image, which suffers in contrast to the clarity of the rest of the piece. The ultimate resolution becomes fairly inevitable at a certain point, however much one might wish it to not happen.
Once Veera and Mahabir are in love, the film suddenly finds itself without apparent options, and its metaphorical highway becomes something of a dirt road through the woods on a foggy evening.
Her ease with the bandits throws them all for a bit of a loop, and gradually chips away at Mahabir's monolithic, humorless exterior and before he knows it, he's taken with her incongruous pleasantness, and he begins to see her as a young woman rather than a symbol of the hated plutocracy. Veera finds, in fairly short order, that being held hostage by a band of quasi-radical bandits is actually less constricting than upper-class bourgeois life. It's to Ali's credit that he controls the tone and pace to such a degree that the romance feels organic, rather than a screenwriter's contrivance. And yet, from this decidedly unpromising starting point, romance first buds and then flowers between Veera and Mahabir. When her abductors find out who she is-the daughter of an extremely rich and influential man-the leader of the group panics and Mahabir ( Randeep Hooda), Veera's initial abductor, takes her and sets out on his own to ransom her, seething with anger at the ruling classes. The fiancé, under duress, complies, and per his fears about straying too far from the house at night, when they stop at a gas station, Veera is abducted by masked bandits making an escape. It opens with Veera ( Alia Bhatt), convincing her fiancé to take her for a drive to escape their all-consuming wedding preparations.
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