STORY: Call it pigeons, but Madhu Mangal Rane (Manoj Bajpayee) has promised to remove lafangaas from all future bridal routes in Mumbai (then Bombay) and his numbers are increasing; 48 brides have been unveiled so far. But the 49th turns out to be a bonus in his life. 'Duduwala' (names of writers, not ours) Suraj Singh Dhillon (Diljit Dosanjh) is 28 years old and sometimes trying to imitate his life to the ugly Bollywood boys, Rane suddenly grabs her and Dillillon's desperate bride… and again! 'Suraj Pe Mangal Bhaari' tells of a collision between the two boys, and it's fun!
REVIEW: While Gurunam Singh Dhillon (Manoj Phawa) took a step of faith and removed the foundation to Bombay from Punjab - hoping to make it bigger in the city - he not only married the love of his life (Seema Bhargava), but also won 22 buffaloes. Cut to 1995, Pope Dhillon now has everything he had hoped for and built Jai Matarani Doondh Bhandar with love, dahi and much paneer (strengthen yourself: there is a lot of milk reference in a movie for all people who don’t tolerate lactose intolerance). But one feature he would not give to his only son, Suraj Singh Dhillon (Diljit Dosanjh), was his innate ability to win girls. So when a greedy professional brought home an English-speaking girl auctioneer, donating shorts from Bandup, the whole Dhillon family jumped for joy. Not soon; the young person smells of ghee and should be completely protected. Repeatedly rejected later, Suraj's Bestie Sukhi, who only imitates Amitabh Bachchan from her angry teenager category, suggests that she is the worst girl to ever follow behind. So when hope finally gives him a head start, he loses that last hope of shame in his set of pictures laughing ****. Who insulted him and his family? And, most importantly, which 'bharatiya naari' will you marry now? Suraj refuses to give up and now has to take revenge. Case in point: A marriage investigator claiming to be the man with the spectacular display of 48 exposed, Madhu Mangal Rane, ignores his dubious plans. What happens when these two maniacs are ego-tossing tossing-tossing two, and who will lose here? 'Suraj Pe Mangal Bhaari' captures the idea of a planned marriage and all the sleep that takes place within the families of that 'one achha ladka / ladki', and, guess what, we laugh!
Wearing a nauvari savage, nath and uttering a certain charm that is not easily disturbed as a local hothead, Manoj Bajpayee jokes as a disabled marriage detective, whispering in the local temple at his opening. The jokes are local, and the attitude, everything is in order. A short time later, a comedian and well-known comedian joins the frame, Annu Kapoor as Kaka - a family friend and businessman whose only contribution is to once help Rane's deceased father for $ 1200. The two of them consume each other's energy and their comedy time is immeasurable, especially when they are arguing over bills and biryanis. Fatima Sana Shaikh is Turshi Rane (Turshi, not Silesi): 'garelu ladki' during the day and DJ closed at night; he is lovable and has a satisfying bat - decaying when the situation demands, he rebels when travel becomes difficult. What takes this movie to the fore is the delivery of Diljit's excellent conversations and his comedy time. Something fun like, “kya kar rahin hai, butter hands?” or "first sight mein, torch light pe, mujhe tumse pyaar hogaya" would be deceptive for most actors, but he is popular with those who look very good and funny, knowing full well that the joke does not exist. His interactions with Sukhi and his clashes with Bajpayee are what keep the momentum of the film races at an extremely fast pace; the first part in particular. But ‘Suraj Pe Mangal Bhaari’ is a ridiculous joke (not a disgrace here), and not everything is meant to cover.
From the outset, it is clear that the writers - Shokhi Banerjee, Rohan Shankar and Rohan Shankar - have invested heavily in acquiring nitty-gritties of the right actions and each character has been given a different personality and pull-back. What is milk for Suraj, marriage is Rane. You will find out why we say so. Cultural celebrations and their reunion should be announced, especially at a stage where a group of orchestrated orchestras orchestras perform their wedding song.
The first part is a visual story of the life of Dhillon and Ranes, with many characters and situations coming in and out in sequence, but the second part, especially the ending, feels like a quick guess ***** *. That needed polishing.
Kingshuk Chakravarty and Javed-Mohsin have compiled an amazing collection of songs - if ‘Saints’ will be remembered by Karishma Tanna, then ‘Ladki Dramebaaz Hai’ and ‘Bad Boys’ will be played in a loop of high octane music. The set design, however, was small. Aside from the installation of the Frankfurt Bauhaus fence, the long lines outside the P.C.O tent and the pager filter to remind us that as early as the 90s, the film has a very village feel in it. Also, Jia Bhagia and Mallika Chauhan could go a lot retro in the style of Diljit and Fatima; it is a myth that the two are hanging on bomber jackets and corset tops from the time when Mumbai used to be Bombay.
All that is said and done, ‘Suraj Pe Mangal Bhaari’ is a clever joke - in the horiver gori-kaali, what is appropriate as good or bad morals in today’s world and how often fortune tellers know about marriages. Trust and participate in the battlefield!
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