Take Behen Hogi Teri, take Bareilly Ki Barfi and take Rajkummar Rao. In the next step, add some age old predictable story line, keep the climax as same as you can : Tadaa : You have successfully made Shaadi Mein Zaroor Aana. This is a typecast movie with a slight change of recipe – the end product is a dish, that you have tasted many a times and your tongues are bored of having it over and over.
SMZA contains everything that you have seen in your tryst with Bollywood. From feminism, to “Beti is equal to Beta” campaigns, “shaadi” dramas and the very similar happy endings. The movie manages to fiddle with some chords “dil se”, bring out a smile or two, bring a thin cloud of the “what will happen next” flavour, but fails to create an overall impact – this shall not linger. If you have seen the trailer, you must have known that this is a leaf, straight out of the “How to make Cliched Movies”‘s book and if you are a victim of anxiety and cannot bear even a tinge of suspense, then this movie is for you, mainly because of two reasons : a. These movies never end without a happy ending (they have taken SRK too seriously from Om Shanti Om) and b. it is so predictable that, your diabetes(if there) will not take a leap, for sure.
Its an attempt of making a social parody which again hits out at the tradition of arranged marraiges and “ladki wale” inferior to “ladke wale” motifs and the career vs marraige theme. The bride and the groom are shown as commodities for sale, and their value is bargainable – and its all done with good heart by Ratnaa Sinha, but comeon, director, we have seen these before and we know what happens next (wikipedia can save you the embarrasment, if you don’t). The story of a boy and a girl falling in love after they have been arranged for a marraige, the twist on the day of marraige and the revenge of the Hero, which turns out to be a war for love, of love and from love, and the eventual rounding off of events and the shaadi finally happening – yes, you have seen all of these.
Rajkummar Rao is in a golden period of his bollywood career, with his CV containing a list of some brilliant movies – but he is in danger of being a typecast. Rao of Behen Hogi Teri, Bareilly Ki Barfi and Shaadi Mein Zaroor Aana are being casted into a stereotype character with a fiddle here or there. Nonetheless, he masters the art – he is a masterpiece on display – from owning up accents, to changing moods in a space of minutes – Rao is a delight on screen.
Kriti Kharbanda comes from that era of Bollywood heroines, who have the right dose of glamour and skill – they are fresh faces on the screen, and a much needed breakaway from the “babuji mujhe jaane do babuji…” types. She makes the screen glitter with her presence, and looks beautiful, acts beautiful!
The very able and known sidecast of the film, suits to the needs of the marraige party. The musical section is pure ecstasy. Every song, very well spaced and so much in melody. The unnecessary “Pallo Latke” is thankfully in the end credits.
Again, very unfortunately, this is a movie of many promises, which it could’nt keep. It had the spark to start a fire, but lacked the fuel. Rajkummar Rao and Kriti Kharbanda make the film watchable (once), but sadly this marraige is full of old faces of relatives you don’t want to meet and a menu, you have had before. If you can, then avoid this invitation, and wait for the marraige’s video recordings to come to you (read : torrent).
Article by : Anish Banerjee.