A protracted climax and worn-out cliché s come in the way of what could have been an interesting cinematic exploration of a social fabric in turmoil
The opening credits set to the tune of a new age Amit Trivedi-Amitabh Bhattacharya bhajan, ‘Namo Namo’—“Seepiyon ki ontt main, Motiyan ho jis tarah; Mere mann mein Shankara, Tu basa hai uss tarah” (Lord Shankar lives in my heart, just like a pearl lies hidden in the shell) —the overarching imagery of Shiva, breathtaking aerial shots of the Kedarnath yatra and panoramic views of the shrine framed against the snow capped, majestic mountains. Kedarnath starts off with the promise of being a modern, hypnotic celebration of religion. But it quickly gets down to separating individual faith and belief from organised religion.