Ayushmann Khurrana, Bhumi Pednekar, Seema Pahwa, Brijendra Kala
R S Prasanna
It is not always that you find a Bollywood film featuring a mainstream hero in a commercial film with erectile dysfunction as the crux of the story. With an unconventional storyline such as this, you have the audiences’ attention at hello! The rest is supposed to be smooth going, but the avid attention that you have garnered can make you wee-bit overconfident - eventually even turning you lax (if not limp).
We already know that the film is a remake of a South Indian film - Kalyana Samayal Sadham – we have Mudit (Ayushmann Khurrana) who is in love with Sugandha (Bhumi Pednekar – who looks like she was very comfortable shuttling between TOILET – EK PREM KATHA & SHUBH MANGAL SAAVDHAN)
They are all set to take things forward, socially by tying the knot and of course, physically because hey, they are tying the knot. Except Mudit can’t get himself to do it! Try as hell, this man’s ‘best friend’ refuses to cooperate! (If you don’t like my silly innuendos, you won’t enjoy the film – it is filled with it.) The number of times the issue has been discussed, hinted at – leaves you at some point hoping that they get on with it, already - no pun intended. Unfortunately it doesn’t really move at the pace it should have.
There are many hilarious moments packed, nicely, but it doesn’t amount to a crackling climax which is a disappointment leveled at the screenplay writer – Hitesh Kewalya. Given director R S Prasanna did such a fab job on the Tamil version, he should have paid wee bit more attention to the Hindi remake too because it lacks the punch, and subsequently the take-home suffers. The dialogues, especially between the mother (Seema Pahwa) and Sugandha will go down in history for being novel and hilarious. What starts off with Aladin and the secret cave, will have you rolling with laughter by the end of it. Full marks to Kewalya where dialogues are concerned for it is too easy to get tempted to incorporate the many jokes that keep circulating on social media – he didn’t go that way and he also tread a thin line between funny and crude effectively. This left the audience in splits but never squeamish – truly a rare fete given the premise of the film.
However, if the film is loved by all it is be only thanks to the crackling chemistry between Khurrana and Pednekar. They looked their part, though Bhumi got torn between playing safe and repeated most of her look from TOILET, despite a slight change in curls of her hair and the shades of her lipstick. Ayushmann who has made a career out of walking an awkward line with a straight face, does it once again. Quite a turnabout for once-Mr.Donor but issues in the film doesn’t affect his charm. The film would have benefited with a crisper climax and some good music, unfortunately they haven’t worked on either.
You won’t remember the songs even while you enjoy Anui Dhawan’s scenic frames which build the relationship between the couple so beautifully, aiding the script remarkably. In a clever twist, despite repeating incessantly that the film is based in Delhi, you don’t see any obvious landmarks telling you that this small time, middle-class story could be yours. Director RS Prasanna has made a sweet film, it is not a perfect film but then which one ever is?