CAST: Vikrant Massey, Kriti Kharbanda, Gauri Khan
Director Devanshu Singh
BLUF
For generations of Indians, the archaic code of social delamination known as the caste system has defined how people earn a living or whom they marry. Despite reorganization efforts, entrenched prejudices, and privilege hold firm among higher castes, while those on the lowest rungs of society still face ostracism, bias, and hostility.
That is the story of Aditi and Sanjay, who fall in love in a totally modern Indian on the surface, yet a society mired in casteism, and social stratification.
Indian cinema adores love. It commemorates love between the poor and the rich; love beyond the lines of religion, region, and language; love that upends traditional notions of gender and sexuality. A foreign viewer of such films would be forgiven for concluding that India is a loving society. But nothing could be further from the truth. For what Bollywood does not honestly discuss is the brutal social reality that sits uncomfortably at the center of all romantic and marital relations in India: caste.
Where most Indian love stories are supposed to culminate in marriages. Heck even dating is supposed to end up in a marriage – the stories are usually of a wide set of characters who can take up much of the three hours that the stories can run into several sub-plots bickering over inheritance, a scheming elder brother, sister, aunt, or a relative, constant celebration of Hindu festivals (usually accompanied by music, dance) – which might impend or aid the bourgeoning romance. Inexorably, by the end, the bride and bridegroom are finally unified in happiness. Something of this sort happens here as well but with a twist in the tale.
THE MEAT AND THE POTATOES
The protagonists decide that they want to get married and they dgaf about the caste issues that their families are so deeply concerned about.
So they figure out a convoluted plan of two separate marriages. Once at the girl’s home. Other at the boy’s home. With fake parents and fake last names of the preferred caste. So the right guy/ gal- but fake parents and fake last name.
And things went well for marriage number one till things went cattywampus for wedding number two as daddy of the groom planted a Mcgruff and got a low down on the plot from the rastard before things could conclude.
FWAR
For the most part, the chemistry between the lead pair is led by Massey masterfully. Gauhar Khan is gold. She is really the Meryl Streep we were looking for in her role as the disguised mother to the groom or the bride as she has to pretend to be as desired. Excellently pulled off. The comedy is well directed and executed except in the final scenes does get a bit heavy when it could have clearly been a bit crisper. Writer-director Devanshu Singh is all set to impress fans with his upcoming movie 14 Phere, which stars Vikrant Massey and Kriti Kharbanda in the lead roles. The director is known for movies like Chintu Ka Birthday, and he has given projects like Udan and Tamash as an writer.
WHAT WE LOVED:
A good satire on the caste system dynamics
Gauhar
Massey
Kriti
WHAT WE MISSED
Editing towards the end
Music
