Movie: Shubh Mangal Zyada Saavdhan
Occupation: Ayushmann Khurrana, Jitendra Kumar, Neena Gupta, Gajraj Rao, Manurishi Chaddha
Director: Hitesh Kewalya
IANS rating: * * * (three stars)
On one level, you see the same old Bollywood-Rom-Com, about two Lovebirds trying to unite against adversity, against parental criticism and social dictates. Everything is done with a feel-good swing, with the obligatory Naach-Gaana and & # 39; Shaadi Ka Tamasha & # 39 ;.
Just saw & # 39; Shubh Mangal Zyada Saavdhan & # 39; despite the clichés always different. The film grabbed eyeballs from the day it was announced because the Lovebirds in the picture weren't a man or a girl. This was Bollywood's first homosexual rom com to deal with the story of some loverboys.
Which means a big leap for mainstream Hindi cinema. The love story is traditionally the most common money machine among all genres in Bollywood. Maintaining every stereotype of the genre and turning the lucrative package into a quiet little nudge with homophobes amidst normal serenity and melodrama is actually quite an experiment, and the debutant and director Hitesh Kewalya deserves praise, if only for so much.
& # 39; Shubh Mangal Zyada Saavdhan & # 39; tries to tell this idea through a script against a middle-class backdrop in a small town. This is the world of Aman Tripathi (Jitendra Kumar), who is finishing a happy family album with his mother, father and siblings. Aman is torn from his feet by Kartik Singh (Ayushmann Khurrana) and thus begins an affair that leaves his conservative family lost for words and reactions.
The gay couple's struggle while trying to persuade their loved ones to accept it is played with humor, but Kewalya's screenplay credibly avoids being frivolous about it. When Aman's family goes on a desperate matchmaking stroll to bring him together with a girl, one realizes that the joke is based on homophobia.
To be Kartik Singh must be Ayushmann Khurrana's toughest challenge among the comedy films he's made recently, if only because the gay lover's playing with the basic idea that mainstream Bollywood will continue to be heroic in 2020 would conflict. "Shubh Mangal Saavdhan" just marks the latest chapter in the actor's ongoing adventure of disrupting everything that makes up the Bollywood hero, and he clearly enjoys every bit of it. However, this is not Ayushmann's best performance ever – the film and its protagonist lack the nuances of "Andhadhun" or "Article 15".
For the TVF sensation Jitendra Kumar, playing Aman seems to be a perfect start to the big screen. Jitendra fans know him as a kind of outsider in the web world, in which he impresses so effortlessly. He puts this restrained screen presence in his role as Aman, a perfect yin for Kartik's Yang.
The strange chemistry of the two actors that the two actors share is thanks to an action supported by the author, but & # 39; Shubh Mangal Zyada Saavdhan & # 39; wouldn't be the same without Neena Gupta and Gajraj Rao. The elderly couple & # 39; Badhai Ho & # 39; returns as Aman's parents. First and foremost, her job is to convey a shock in a world where it is still not "normal" to accept your son as a gay person. Rao and Gupta have lost none of the weird time edge that & # 39; Badhai Ho & # 39; something special. They deliver excellent acts individually and remain an enrichment for the film as a duo.
Rao and Gupta benefit from the fact that this film, like most of Aanand L Rai's productions, stages every character, including the props, with a balance between the real and the entertaining. Proven talents like Manurishi Chaddha and Maanvi Gagroo, who play important gears, also impress in interesting roles.
The film's greatest asset is its actors, along with the fact that it belongs to Bollywood's quirkiest comedy recordings of all time. Putting homosexuality in the spotlight in a commercial setting also appears to be a commendable effort to begin a broader discussion on the subject.
However, you get a finale that is not entirely unpredictable. With a view to the formulaic Bollywood love story through the prism of gay romanticism, the film also firmly refuses to slide under the surface while addressing a gay relationship issue that has become more topical in our time.
That way, you might consider it a missed opportunity considering the reach of the film and its protagonist.