Review

REVIEW Shubh Mangal Zyada Saavdhan

REVIEW Shubh Mangal Zyada Saavdhan

REVIEW Shubh Mangal Zyada Saavdhan | This story is about the love affair of two gays who are wholeheartedly in love with each other. In the movie, actors “Ayushmann Khurrana” & “Aman Tripathi” will be seen whose character name in the movie is Kartik Singh & Aman Tripathi respectively. This affair is hidden from their families.

Aman lives with his family. His father in the movie is Shankar Tripathi (Gajraj Rao), his mother is Sunaina (Neena Gupta) the name of uncle-lawyer is Chaman Tripathi (Manu Rishi Chadha), aunt’s name is Champa Tripathi’s (Sunita Rajwar) and people named Goggle (Maanvi Gagroo) and Keshav (Neeraj Singh) are his cousins. Every hell breaks when Kartik and Aman publicly confess their relationship during the celebrations of Goggle’s wedding leaving everyone in the household shocked. Goggle’s marriage is postponed by the groom’s family, but the devastation that such a partnership generates in the Tripathi-family can’t be ignored.

A few days ago, his parents’ marriage to Kusum (Pankhuri Awasthy) was finalized. Aman agrees to marry Kusum because of social pressures, but the arrangement is secret between Kusum and Aman. Although the proposal still suits Kartik, he opposes because he wants Aman to fight for the homosexual relationship instead of going down the easy path.

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What happens next? Does Aman marry Kusum or Kartik? Will leaders of the Aman family get over their shock?

Hitesh Kewalya has written a bold story that shows the actor (Kartik), its main protagonist, in a gay relationship. So the story has both novelty and shock-value. A good part of Kewalya’s script is comical and light-hearted, but this cannot take away from the inherent gravity of the subject. The author himself oscillated between comedy and philosophy/seriousness, as a consequence of which the drama is neither entirely here nor there. Its Tripathi relatives all along try to convince Aman that the relationship between him and Kartik is unnatural, while not referring to the relationship’s illegality.

Yet on the day of Aman and Kusum’s marriage, when the police arrive at the Tripathi home to arrest Kartik and Aman for their gay relationship, a man’s family members are asking the police to wait for the Supreme Court judgment on Section 377 to be pronounced the next day. And when the decision decriminalizes homosexuality the next day, the Tripathi family members hug each other and weep of joy as though decriminalizing or legalizing homosexuality were like “naturalizing” relationship.

Also, it seems a very strange thing that  Kartik asked Aman, to take a stand on homosexuality and not marry Kusum but the lawyer Chaman Tripathi telling the police that Kartik and Aman are not in a gay relationship when the police come to arrest them. What happened to the Kartik Principle then? It’s hard for the audience to accept that the principal protagonist can be so double-faced.

While the Tripathi family outbursts have been shown in great detail, Kartik’s family reactions are not at all shown.

Writer Hitesh Kewalya also regularly digresses from the main subject — who is okay — but the digressed scenes clearly look like they’ve just been inserted to build humour and because there isn’t much meat left for him in the main question. As the audience enjoys the comedy born of disputations between the Tripathi family members, they also realize (audiences) that the disputations often are out of context.

For example, the scene where Shankar and Chaman Tripathi urinate and enter into an argument appears to be uncommon. Similarly, after the breakup of the marriage, its course of Google’s image or relationship disappears–all seems irrelevant. Another big drawback is that the viewers don’t feel empathy with the two lovers, which is a romantic story, which is extremely important. The main drawback of the screenplay, however, is likely the author’s lack of conviction. It becomes clear to the audience at regular intervals that the writer himself is not absolutely convinced about gay relationships— and that is not a great feeling to have!

This does not mean that there are no plus points in the screenplay. It’s got them, of course. Many of the comedy scenes are very funny and loving. This, together with the new factor, sometimes makes the drama attractive. Having said this, this should be included that the story and the entire vision of the film are going to reconsider the youth. Hitesh Kewalya’s dialogues are excellent, and they add enormously to the comedy.

Ayushmann Khurrana like a Kartik Singh did a great job. He undoubtedly put all the conviction to make the character credible and real. Jitendra Kumar is not acting on the front foot— and that is a ‘minus’ a drawback for the film. Even though he performs ably, often he seems uncomfortable enacting his character. Gajraj Rao is behaving well but is going overboard in situations. Neena Gupta is like Sunaina Tripathi, outstandingly good. Manu Rishi Chadha as Chaman Tripathi is extraordinary, using his body language to great advantage. As Champa Tripathi, Sunita Rajwar lends tremendous support. As Goggle, Maanvi Gagroo’s ok. The fine marking of Kusum is left by Pankhuri Awasthy. A positive quality that makes people smile is her timid shyness each time. Neeraj Singh has a wonderful feeling of presence like Keshav Tripathi. As a physician, Gopal Dutt is natural. In a brief special dimension, Bhumi Pednekar stands by her.

The direction of Hitesh Kewalya is nice but sometimes his storytelling style fails. Its music and lyrics are good;’ Gabru’ and’ Oo la la’ were the greatest songs and the other is pretty nice songs, but they don’t have a super hit number. Picturizations of songs (by Vijay Ganguly and Bosco-Caesar) are really catchy. Background music by Karan Kulkarni is very good. Camerawork by Chirantan Das is nice. The action and stunt scenes for Amar Shetty are nicely tried. The design of the manufacture of Ravi Srivastava is fine. Editing by Ninad Khanolkar is also okay.

Overall, Shubh Mangal Zyada Saavdhan has comedy, but is not ‘persuading’. It’s going to do ordinary business at the box office. Recovery from non-theatrical channels is obviously huge and therefore profitability and success should not be a concern, but its theatrical business will be very small and below expectations compared to the hero’s earlier films.

The movie was released on the date 21-2-’20, Regal including many different other cinemas of Bombay movies via ‘AA Films’. On a whole:

  • Advertising: fine.
  • Publicity: nice
  • Opening: pretty good.
  • It’s released all over. The opening was fair in places, good in other places, under the mark in certain places.

 

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