To emit: Manoj Bajpayee, Diljit Dosanjh, Fatima Sana Shaikh, Manoj Pahwa, Seema Pahwa, Annu Kapoor
director: Abhishek Sharma
Classification: 2.5 stars (out of 5)
It’s 1995. Bombay is about to become Bombay. A 28-year-old Sikh boy born in Ghatkopar is looking for a wife. His search for a suitable girl is thwarted by a son-of-the-earth detective who snoops, digs up dirt, and puts an end to his marriage plans. The low blow triggers an unseemly game of superiority between the two men, dragging their unsuspecting families into the long-running fight.
That, in a nutshell, is what Suraj Pe Mangal Bhari, a whimsical comedy directed by Abhishek Sharma (Tere Bin Laden, Parmanu: The Pokhran Story, The Zoya Factor) it’s about. Despite two spirited central performances by Manoj Bajpayee and Diljit Dosanjh, it falls short of realizing its full potential as a romantic comedy with genre-defying ambitions. Laughing? Gently and sporadically. Hilarious? Not with a long chalk.
Rohan Shankar’s script, supported by simplistic wit, rarely goes beyond referencing Hindi movies and TV shows from the 80s and 90s (Damini, Karamchand. Shrimaan shrimati, et al) by way of period details.
To evoke an era before smartphones, flash drives, and clandestine operations entered the lexicon and into our lives, include a pager or two, a clunky tape recorder, a moped, and a character declaring the world is dead. to five years before the new millennium and take note of the use of the word “cold” to denote more than just temperature. And when was the last time we heard a wedding band play? Meri pyaari beheniya banegi dulhaniya (Sachcha Jhutha, 1970) in a Hindi movie?
The title may evoke the vastness of the solar system, but the movie doesn’t come close to piercing through the stratosphere and rising. Suraj Pe Mangal Bhari It is a lightweight film that remains firmly anchored to a completely medium base. When it’s not funny, it’s discouragingly childish.
To go back to the story, the youngest boy is Suraj Singh Dhillon (Diljit Dosanjh). He runs a dairy business that his father (Manoj Pahwa), a migrant from Moga, established before his only son was born. His mother (Seema Pahwa) wants him to find a girlfriend. He’s in a bit of a rush himself. He does not feel like losing his youth among the buffalo.
Wedding detective Madhu Mangal Rane (Manoj Bajpayee), a single man who has taken it upon himself to expose all the bad guys, is the disruptor. He lives in a Girgaum chawl with his beautician-mother (Supriya Pilgaonkar), with whom he is constantly at odds, a cynical uncle (Annu Kapoor) who doubles as the detective’s assistant, and his younger sister Tulsi (Fatima Sana Shaikh), who has a secret life outside the confines of his conservative middle-class Marathi home.
Suraj believes that Tulsi is a “sundar, sanskari Bharatiya naari ka asli roopVery soon he learns that his assumptions are very far from reality. When the girl, who has ambitions that put her on a collision course with her nosy older brother, places all her cards on the table, it causes another funny turning point in the queue.
What Mangal and Suraj do to each other, and how and why, is the essence of the film. If only the script had more insight and wit, Suraj Pe Mangal Bhari it would have been what it aspires to be: an ironic version of the internal-external debate that has raged in the Mumbai political arena for decades.
The film aims to be a tribute to a city that never sleeps, but is based on dreams. However, the conversation about who belongs here and who is never more than peripheral to the plot. It is raised only in passing and never forcefully enough.
By far the most interesting aspect of Suraj Pe Mangal Bhari it is Manoj Bajpayee’s game against Diljit Dosanjh. In a movie that has the former in a key role, you don’t expect their thunder to be stolen by another actor. Dosanjh comes tantalizingly close to accomplishing the impossible.
The controlled verve of the Punjabi actor and singer gives the film a pleasant degree of joy. The acting is easy to get used to due to the bubbly nature of the role. Dosanjh adds appreciable warmth.
Fatima Sana Shaikh brings to her role an inner strength tempered with outer serenity, proving that she is an actress who clearly has the ability to improve her game on more demanding outings (we saw glimpses of that on Netflix. Ludo).
Bajpayee’s character is of a completely different timbre than Dosanjh. It has multiple shades and moods. This is not simply because he assumes various forms, including that of a woman performing a religious ritual for the health and well-being of her husband, even when she gossips with another devotee to discover information about a man about to marry. . His exploits are very subtle, a perfect contrast to Dosanjh’s much more direct and instant winning act.
It is difficult for an actor to impersonate the son of an actress who, in real life, is in the same age group. While Supriya Pilgaonkar is charming as the feisty matron whose hair salon shares space with Madhu Mangal’s detective agency, there are times when the duo have a twist. But the two actors are so good at what they do that, after a moment, you stop feeling too upset about the discrepancy.
More than anything else in the crazy tit-for-tat movie, it’s the clash of two acting schools, or rather, one school on the one hand and the lack of it on the other, that is worth watching. The first is obviously represented by Bajpayee, the second by Dosanjh. The roles and approaches differ greatly, but both maintain their foundations, making for an intriguing show. If only it had been a more substantial romantic comedy than it is, the two actors could have pulled the film out of its quagmire of the ordinary.
Suraj Pe Mangal Bhari he’s too focused on the clash of cultures and temperaments (Suraj is happy to be able to read a comic in two hours, while the ambitious Tulsi Rane is an avid Marathi theater lover) to realize that he doesn’t actually say anything of real importance . It is a pity. Suraj Pe Mangal Bhari It would have been a significantly more important deal if its intention had been translated into action in a more meaningful and measured way.