‘HUNGAMA 2’ IS TIRESOME, PAINFUL, AND WASTE OF TIME

Rating: 0.5/5
This is probably for the first time that legendary filmmaker Priyadarshan has given such a stupid film, that marks a new level of low

Rarely does it happen that you find one good point about the film and you just don’t get it. Hungama 2 is one such film. It is hard to believe that this is the recreation of the cult classic Hungama, which still won’t let you switch channels if you spot it on one. It is even harder to believe that this one is also helmed by Priyadarshan, someone who is a proven genius. This film here is stupidly idiotic, which makes you think only one thing- what was the need for this?

Watch the trailer here:

PLOT

Is there even a plot here? There is an attempt to create layers, but none of them is properly laid out. Aakash (Meezan Jaffery) faces a trouble in his life when Vaani (Pranitha Subhash) appears before him with a kid claiming to be his wife and the mother of his kid. On the other hand, Radhe (Paresh Rawal) suspects that his wife Anjali (Shilpa Shetty) is having an affair with Aakash.

STORY/SCREENPLAY/GENERAL

The film is co-directed by Ravi Thyagrajan. The story is by Priyadarshan. Shabby story. Poor story. Nonsense story. Futile story. The screenplay is penned by Yunus Sajawal with dialogues by Manisha Korde and Anukalp Goswami. Half-baked screenplay. Lethargic screenplay. Atrocious screenplay. Is this a comedy? Is this a family drama? Are you supposed to be entertained? Or just glued to the screens scratching your heads? The film is so moronic that all through the runtime of 156 excruciating minutes, you struggle to find one logical moment, one scene that makes sense, or one sequence that makes you smile (don’t even expect to laugh), and your struggle finds no solution till you see the end credits roll.

There are two parallel tracks running all along the film. While the story revolves around Meezan-Pranitha’s track, it clearly seems that Paresh-Shilpa’s track has been added to give the feel a star appeal. It is also done to reinforce that this is drawn from the original Hungama (with same character names as the original venture) wherein the husband feels that his wife is having an affair. But to think of it here, it is not only misplaced, but also sheer foolishness to have included it in the narrative. It does absolutely nothing except elongating the runtime, adding to the woes.

hungama2, disney+hotstar, hindi, film, review, 2021
On sets of the film (image source: instagram)

Isn’t there anything good about the film? From the technical point of view, yes- the locations are picturesque and the sets carry magnificence. But it is all pointless when the content is so dull. The film is unnecessarily loud. It never lifts from one point. It begins and carries the same tone all through. There is also an element of suspense woven in the screenplay (if there is any) but when the unfolds, all you can do is curse the writers for being so immature. Given a chance, you could think of a better angle, indeed.

There is no laugh at all. The film is utterly slow. Why- you would ask. A comedy is supposed to have energy and enthusiasm. Hungama 2 has neither. Big actors, veteran actors have signed up for it. You have Ashutosh Rana, Paresh Rawal, Manoj Joshi. Why? If goodwill works in terrible ways for actors, actors should have said a clear NO. But then, who knows what goes behind the scenes and how relations work?

PERFORMANCES

Meezan Jaffery is just okay. He feels (or may be the director feels) that screaming is the way to invite laughs. He fails as an actor here. Same goes for Pranitha Subhash. She falters a lot and it clearly shows that she just can’t act.

hungama2, disney+hotstar, hindi, film, review, 2021
On sets of the film (image source: instagram)

Paresh Rawal also seems to be missing the point. Ofcourse you can’t blame Paresh Rawal the actor. The blame should go to Paresh Rawal, Priyadarshan’s friend. Also, how the role is written says a lot about the skewed mentality of the writers. The role is a caricature and Rawal is reduced to a cartoon.

Shilpa Shetty also doesn’t have much to do in the plot. She is present only to add glamour and recreate her Main Khiladi Tu Anari song.

Ashutosh Rana tries very hard to remain logical and bring in some humour. He does succeed to some extent. But in this wafer-thin plot, you can’t expect an actor to do the job. Manoj Joshi also performs fine, but clearly underutilises his own potential. Again, the blame goes to weak writing.

Rajpal Yadav and Johnny Lever are once again insulted in a way when the makers yet again choose to give them roles that are only loud with no arc. They are made to scream and shout and make weird faces. It’s sad and bad for these genius actors.

OTHER TECHNICALITIES

Music by Anu Malik is evidently below par. There is now way you won’t skip the songs. You would wish you could do the same for the film as well. Honestly, some cinema viewers will do that for sure. They will finish this film in less than an hour. Wink Wink. The background score by Ronnie Raphael also is nothing to cherish about. Plain and bland.

Cinematography by Ekhambram N K seems out of place. So many shots just stay and refuse to cut when you feel the dire need to look at the actor from the other side. It does seem reasonably okay when there are beautiful locations in the backdrop. Otherwise, there are too many faults in how camera conveys information. Production design by V. Selvakumar is good. The sets are grand, adorned well and give you a correct sense of character placement. Some respite in otherwise shattered and scattered affair.

Editing by M S Aiyappan Nair is abysmal to say the least. Firstly, the film is too long to bear. Secondly, it is not only the writing that is faulty. It is also what the editor couldn’t achieve, making this film pathetic.

Just do not watch the film if you want to maintain your sanity. This is a film that even Priyadarshan won’t find funny.

 

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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