KATTI BATTI: A ‘yawn’ experience! [1.5/5]

Love-stories can be clichéd. One should never be ashamed of it or in the state of complete denial. In fact, there will always be the ‘boy-meets-girl’ design in the plot, some or the other way, but you can’t be so unimaginative, uninspired and uninteresting that no one would even try to invest their emotions in whatever story you’re telling or just cooking it up for the sake of it. Nikhil Advani’s KATTI BATTI is probably year’s most lackluster romantic film; not just because it lacks the chemistry, the spark, the romance or even the reason behind its existence but also, for being a ruthless demolisher of a proficient actor’s potential [That goes for Kangana]. This is a film where romance is judged by how competently you preserve the first 20-rupee note your ‘true love’ has offered you with her phone number on it, or how proudly you carry a piece of paper once used for writing the word ‘sorry’ as many as fifty times to brace your apology. I can hear you all going ‘Aww’ with multiple ‘W’s, girls! But this all happen, hold your breath, in a modern day live-in relationship! Growing up is a choice, I fear most of the Bollywood writers don’t like to go for.

The film is set in a world where every Madhav involuntarily becomes Maddy [Imran Khan] but Payal [Kangana] remains Payal despite being more foresighted, focused and free-spirited than the cool dude in question. No wonder, she is called ‘a good catch’, ‘chalu’ and a ‘man-eater’ who can chew men and spit out the waste, for the choices she makes in her life. On the other hand, the boy is on the loose to chase the girl until she accepts to be with him. 5 years later, they are breaking-up. And then, of course there is a bunch of supporting human angles to make it happening whatever needs to be in those circumstances! A friend who’s irritatingly always there [Doesn’t he have his own life?], a bossy kid sister with her so-called wise advices, another friend who’s shown pregnant while being already the mother of a one & half year old toddler [Though it’s not a crime, I really want to know what went wrong that night] and many others including a baddie actually being a goodie. Did I just pass a lame clue here for a shamefully twisted climax or eventually the director’s cover up for his own sins? I think I deserve a ‘thank you’ to save some of your mental exercise.

Surprisingly, the film starts with a really impressive scene where the couple is seen discussing their live-in relationship status, in bed, followed by the inventively-shot ‘lip to lip de kissiyaan’ song. It smells fresh but only till you know the writer has been briefed to make every scene a laughter-joint no matter how irrelevant, erratic or unreal it is. The film is filled with scenes when humor is forced, freaky and fatigued. As a writer, I can tell you how one sell these kind of scenes to the director. The popular expression is ‘On-screen aur achcha lagega’. We all have been made fools. While watching movies, one should always be attentive as there might be a hidden hint for your own good. Well; just before the climax, Nikhil throws a song named ‘Jaago mohan pyaare’ on us to make sure all of us are awake to notice the high-point of his film i.e. the weepy-creepy and shabbily sentimental climax.

Kangana Ranaut, on the cast, is underused for her abilities to emote and over-used for providing a gimmicky ‘different looks in one film’ formula, she apparently has mastered in TANU WEDS MANU AGAIN. On the contrary, Imran is given more screen-time, attention and opportunities to show his caliber. As a nerd, bore and one-track lover of an ambitious, smart and animated girl, he is quite watchable. So is Vivan Bhatena. Special mention to Suneel Sinha as Maddy’s father who has all the talents and looks to fill the long-awaited gap for a cool, caring and compassionate Bollywood father. Now, that’s some fresh casting I see.

There has been news of Aamir Khan seen crying after watching this dead & dull romantic affair. I can only say, crying is good but never for the wrong reasons. The makers should have an on-screen affirmation saying something like, ‘This is the scene that made Aamir cry’, it would be more helpful to incite some emotions in viewers. Otherwise, Nikhil Advani’s KATTI BATTI is an affair NOT to remember! A ‘yawn’ experience! [1.5/5]

TANU WEDS MANU RETURNS: Just for Laughs…and the ‘QUEEN’! [3.5/5]

A hushed & muted father in 40 years of marriage [K K Raina] is comforting his son [Madhavan] who’s on the edge of making the hardest decision to get out of his dysfunctional marriage; and you can clearly eavesdrop on the mother complaining hysterically about this late night discussion. Towards the end of the conversation, the agitated father gets up, picks up a floor-wiper and breaks the only lit tube light in the house. The marriages anywhere on earth can bring the same effect on any one who claims to be sane. But then, there is always a way to escape the complications. Paying no attention and enjoying your regular spell of drinking could be one, as suggested by the father in the film but divorce is just not so done. How can we not have Tanu and Manu in same frame if the film has already pictured them as a couple? We dare not.

Despite managing a wonderful plot for a sequel, TANU WEDS MANU RETURNS prefers to join the successful league of highly entertaining bollywood films that might go for a clumsy climax and a fake happy-ending just for the sake of audience’s approval. The best part is you have a pool of talents and the powerhouse herself at your side, Kangana Ranaut if you want to play straight; so definitely no one is gonna raise his eyebrows over this preferred choice of not going bold but staying regular.

Four years is a term looking too much to be in marriage for the temperamental Tanu [Kangana] and maddened Manu [Madhavan]. Their latest verbal spat has landed Manu in mental asylum and Tanu in killing loneliness. She returns to her zone, of ex-boyfriends, fewer limitations and an all flying high life with no strings attached. Manu meets a mirror image of Tanu and falls in love instantly. This new entrance [the overpowering double role of Kangana] is a Haryanvi athlete- a lot rough in her vocals but much more susceptible and sensitive within. Meanwhile, returns Pappi [Deepak Dobriyal]- the uproarious friend who never runs out of droll one-liners. Then, there is Raja Awasthy [Jimmy Shergil] adding the drama led by power, passion and attitude. Zeeshan Ayyub plays your regular mean and tricky one-sided lover who considers himself belonging to a certain ‘kandha’ type men known for offering their shoulders to broken girls to cry at.

TANU WEDS MANU RETURNS takes off from the base of its prequel and lands up in the territory of ‘RAANJHNAA’. Aanand L Rai being the powering team-lead and Himanshu Sharma the delectable writing force, it doesn’t fail as an experiment. Film guarantees uncontainable laughs especially in the first half before the ineptness in the screenplay starts bothering you soon. Be it the wedding-scene where Pappi kidnaps his ‘whats app’ female friend to marry just because she would reply on his even lamest jokes with ‘LOL’ text messages or where Swara Bhaskar sounds like she had done anything unethical in going medical way to conceive a child without telling her husband; the second half eventually becomes the rush-rush, hush-hush mission to meet the forged happy ending. When would we stop pretending that marriages are not done until the very last ‘phera’? When would we stop taking our climaxes to the ‘mundup’ at the very final moments?

Anyways, keeping my issues aside; it’s a film that establishes Kangana’s success in QUEEN wasn’t a fluke. She surfaces as a towering performer in both her roles. No matter what get up, what accent she’s into; Kangana is there to spellbind you. Her flawless performance gives you goose bump moments we rarely experience or expect from Bollywood films. Madhavan is equally competent. His charms never fade. His kind, compassionate and fragile Manu makes his own place in your hearts. The casting is superbly accomplished.

Overall, TANU WEDS MANU RETURNS is a film made for laughs! Frequent laughs! Fabulous laughs!! If only Aanand L Rai had not been so conservative about divorces, film would have been blessed with a much appreciative climax. Watch out for the ‘Queen’ whose vivacious presence alone makes every penny of yours a ‘worth it’ investment to gain super-sized entertainment! [3.5/5]