It’s final mushy moments
notwithstanding the film is a feel good film. It truly belongs to a class act
called Kangana Ranaut. It has the Punjabi spirit and keeps you for its near 120
odd minutes. What is substantially a fun filled joy ride a la a Jab We Met or
even a Seeta Aur Geeta turns into a Karan Johar conflict of tears melodrama.
You may see this as a larger malady of our treading a culturally hypocritical
route rather than a mirth filled fun filled scale tale. That is no just a
cinematic bottle neck!! It is a social challenge. Viewed from social show
casing, Anand Rai gives you a long drawn drama wailing to save a marriage at
the cost of relationships and emotions. It is in a way a return to Yash
Chopra’s Silsilla. Both show case the readiness to bite and the hesitation to
chew!!
Well TWMR is just another commercial film. Seen from this limited context it is
a fun film – a joy ride for most of the time. Also you walk out of the theatre
(anywhere from Ameerpet to Atlanta) with a smile on your face. More importantly
with a reassured suggestion that the institution of marriage is safe if not
exactly healthy.
Tanu (Kangana) and Manu (R. Madhavan) find their four year wedding suffocating
in the cold of London and are unable to shovel out their disappointment. As
service providers within the institution their band widths don’t sync. The
crack in the mirror is major and thus they move their ways. Both find
themselves in India. This time round Tanu finds an in house lawyer Chintu
(Mohammad Zeeshan Ayyub) who is manipulating her emotions. She of course rides
down memory land and runs into Jimmy (Raja Awasti) who still has a special
place for her.
Manu on the other hand runs into Kusum a gymnast in the making who he is
smitten by. He has fond memories of the face. Feisty Kusum is a Haryanvi kuddi
with all the attitude you can ask for and she is willing to defy anyone if only
she is assured of the love of her new find friend. Various leftovers from the
earlier version pop in with sincerity to add to the continuity of the
franchisee. So we have a hovering divorce between Tanu and Manu and a blooming
romance between Manu and Kusum. There is a twist however when you know that
Kusum too like Tanu is engaged to marry someone. This suitor is going to add
new problems to the possible marriage. This is ideal for a Woodhouseian
scenario. It is here that Anand Rai misses the trick. He chooses a melodramatic
tale and walks to the pulpit before he reveals who his favourite is between
Kusum and Tanu. For satiating your curiosity and for better reasons do not
hesitate to see the film.
The cast and crew are serious and dedicated. Yes, Himanshu Sharma may be held
responsible for not having the required guts to take a mere comic look at the
tale and forcing strong message into a fun film. It is also a tad longer and
Hemal Kothari (editor) could have cut a few scenes at the table.
The performances are fine. Deepak Dobriyal is hilarious and his sense of humour
is classical. Also Madhavan as the suffering lover ensures that his role does
not bite into the tale and the main character. The film however truly belongs
to the class of Kangana. This Queen is making a Fashion of her talent. Notice
how she contrasts the different kinds of confidence and how she holds herself
together and does not give into the high dosage drama of a typical mainstream
actor. She is a winner. Return to the matrimonial return. You sure will have
laughing moments – just as the film is filled with its own.
Rating 3 stars
+ fun and Kangana
– Needlessly mushy.
L. Ravichander