Virgin Bhanupriya accounts for a young lady attempting to lose her virginity. Bhanupriya (Urvashi Rautela) is a young lady hailing from Mumbai. Rajiv Gupta and Archana Puran Singh are playing her parent’s characters. She needs to begin to look all starry eyed at yet the entirety of her endeavors fizzle.
She finds and starts to date Irrfan. He claims to be a creature lobbyist; however, he gets captured for selling homeless canines as creatures of global variety one day.
Bhanupriya’s companion Rukul (Rumona Molla), then, is very indiscriminate, and she is making an honest effort to guarantee that Bhanupriya gets laid. Bhanupriya loathes him; however, she chooses to have intercourse with him in the school library with no other alternative.
Tragically, she gets discovered in the act, and the issue contacts her folks. He understands it’s a decent match. In any case, Bhanupriya stops them from taking problems further. Rukul, at that point, acquaints Bhanupriya with the stud Abhimanyu (Gautam Gulati).
He’s called Shartiya as he loves to wager and never loses. Bhanupriya experiences passionate feelings for him, and he also gets pulled in to her. She attempts to get physical; however, Abhimanyu requests that she burn-through vodka, which he has carried with him.
An irate Bhanupriya shows him out of the house. Her dad shows up home and beverages from a similar container in the interim. He completes the entire drink and breakdowns.
Ajay Lohan’s story has a great deal of potential and might have made for a giggle revolt. However, Ajay Lohan’s screenplay is exceptionally powerless.
Preferably, the essayist ought to have gone hard and fast and added some incensing minutes as the story merited that. Ajay Lohan’s exchanges are low. A few jokes raise giggles.
Additionally, there have been many caves on the conservative philosophy. Keeping in mind that it works in the Goa emergency clinic scene, it appears to be constrained in the film’s remainder. A burrow on well-known entertainer Rakul Preet Singh is unusual and added only for its hell.
Ajay Lohan’s heading is low. To give credit where it’s expected, one can endure from beginning to end. It never gets agonizing. Tragically, that is sufficiently not, and one necessity much more in the film to dazzle the crowds.
A couple of seconds are engaging and interesting. The enthusiastic minutes neglect to move. The most significant issue, notwithstanding, is with the peak. The chief raises pressure levels as Shartiya is dared to have fled. In any case, Bhanupriya’s response after reality comes out is unconvincing.
Virgin Bhanupriya starts with the focal plot without burning through any time. However, a portion of the film’s circumstances are entertaining on paper, but it doesn’t decipher a similar route on the screen.
The track of Rajiv is unremarkable. Shartiya’s entrance is brave, and one anticipates that the film should improve. Tragically, that doesn’t occur. The film ought to have been high on humor and enthusiastic minutes, and notwithstanding a joke or two, nothing truly works.
The peak is indiscriminate, and even though the contort is somewhat startling, the effect isn’t made.
Rumona Molla gives a decent presentation; however, unfortunately, her track, in the end, does haywire. Gautam Gulati is somewhat ridiculous; however, that works for the character. Rajiv Gupta hams, and it’s miserable to see an incredibly skilled entertainer being diminished to a cartoon here. Archana Puran Singh also goes overboard; however, relatively, she is better.
Amjad-Nadeem’s music is forgettable. ‘Beat Pe Thumka’ is the significant part as it’s infectious. ‘Dil Apni Haddon Se’ is shot well. ‘Kangna Vilayati’ is played during the end credits while the title track is absent. The reproduced rendition of ‘Pucho Na Yaar Kya Hua’ is poor. Sanjoy Chowdhury’s experience score is unremarkable and has an everyday cleanser feel. The same goes for Bhimrao Sapkale’s specialty course – the sorts watch out of a TV show.
