Cast: Ayushmann Khurrana, Jitendra Kumar, Neena Gupta, Gajaraj Rao, Manu Rishi, Sunita Rajwar, Maanvi Gagroo
Director: Hitesh Kewalya
How far will you go for affection? Since days of yore, stories have played with that question. With two men as its darlings, Shubh Mangal Zyada Saavdhan now asks the equivalent. It frames its blows in humor, it takes the shield of a huge, tumultuous, somewhat disturbing and frequently superfluous family. In any case, its accomplishment lies not simply in going where Bollywood has not gone previously. It is in reliably depicting Kartik (Khurrana) and Aman (a brilliant Kumar, in his presentation film job) as only a couple, not ‘homo’ or ‘hetero’.
The two are as of now seeing someone we meet, a disappointingly uncomplicated one in the namelessness of enormous city Delhi. Closer home, Kartik’s dad has snapped ties with him after a sound whipping. Aman’s Allahabad family discovers the idea of their relationship not long after when his dad finds him kissing Kartik, and can’t quit hurling.
How do the Tripathis, one of the features of whose life is boarding the Vivah Special Express train en famille to a wedding, adapt to this disclosure?
Executive Kewalya, who composed Shubh Mangal Saavdhan highlighting Khurrana notably in the job of a man of the hour doing combating erectile brokenness, tosses a great deal at Kartik and Aman. The Tripathis use science, extortion, suicide, disgrace, even ceremonies where Aman is “slaughtered off” and “renewed” and, some savagery, to isolate the two. What Kewalya is attempting consistently however is to keep it light and foamy, with the standard bickerings, contradictions, discontents that mix in a huge family, spilling out at customary interims. Everything gets excessive now and again, with Aman and Kartik’s own story that necessary all the more fleshing out lost all the while. For one, they are differentiating characters (Kartik a heap of additional vitality, Aman slight and repressed), and it would have been pleasant to see them away from Aman’s tyrannical family, which fits a similar little UP town layout that is of late a Bollywood top pick.
Kewalya’s brilliant cast however causes everything to go down no problem at all. Neena Gupta has another victor as Aman’s mom, while Gajaraj Rao plays his dad who, in what could have been a decent touch, is a little league researcher behind a dark, “without germ” cauliflower assortment. The film winds up extending this topic of nature-versus science a piece excessively far, however Gupta and Rao who gelled so well in Badhai Ho stay a hoot. The long periods of friendship are noticeable in their continuous contentions, as is the manner by which she is his stone.
It’s through both of them that the film additionally investigates what is its most grounded topic: that of lonely love. Like others before them, and others sure to come after, they convey laments about an extraordinary somebody, and “what could have been”. Shubh Mangal Zyada Saavdhan doesn’t inspire these recollections with sharpness or outrage yet as one of those minutes that make up an actual existence.
It brings up other relevant issues, about married couples, fathers and children, moms and youngsters. At a certain point, Aman asks, “For what reason is that lone children are required to be legends? For what reason can’t a dad be for once?”
It’s especially glaring at that point how daze Shubh Mangal Zyada Saavdhan is to its ladies who are not moms or spouses. The three other ladies characters here are altogether pining for adoration or marriage in various degrees, with a physical incapacity played for barbarous giggles (it’s surprisingly that her ‘Goggle’ figures out how to transcend this basic framework of her character).
Simultaneously, the pursuit of affection is the thing that Shubh Mangal Zyada Saavdhan is about. Love that could spring between two men who look as ordinarily as Kartik and Aman (Khurrana is acceptable, yet Kumar is lamentably delicate; full checks to the previous for permitting the film to be such a great amount about the last mentioned). Love that at last ties families together, and appears in unforeseen ways. Love that goes past Romeo and Juliet, Shirin and Farhad, Jack and Jill, even Simran and Raj. Love that sees no shading/class, or the sex of the hand contacting help you into a running train.