Rating: 1/5
Director Navjot Gulati doesn’t make you laugh, not even in bits and pieces

It’s a film backed by Luv Ranjan. Even though, sadly, it doesn’t carry any merit. Although every film takes effort and it must be appreciated, this one is a bad film altogether. This is a case where a story can easily become passé. Jai Mummy Di is neither satisfactorily emotional nor even slightly funny- both what it sets out to achieve in terms of position.

Jai mummy di, film, review, hindi, 2020
Director Navjot Gulati, Sunny Singh, and Sonnalli Seygall during trailer launch (image source: prokerala.com)

Punit (Sunny Singh) and Saanjh (Sonnalli Seygall) are in love. They however pretend to lock horns in front of the world because their mothers, Supriya Pathak and Poonam Dhillon respectively have their horns locked, for some strange reasons. Punit and Saanjh want to get married but their mothers won’t budge. They need to think of a plan on how to get their mothers on talking terms.


Take all the films which Luv Ranjan is associated with. All of them. Pick five scenes from each. What you get in result is Jai Mummy Di. Written by Gulati himself, the film lacks in its basic substance- the story. There’s hardly anything that you can term new or interesting. It is here you wonder why veterans like Supriya Pathak and Poonam Dhillon gave their nod to this.

This is a comedy by its very basic approach. But you are sitting with a straight face, all through the film. Not exaggerating one bit. All through the film. As a film buff, you may also try to find one notion, one scene, one mannerism, or one dialogue where you can even smile to call this film a fitting one for the genre. But you’ll fail miserably.

Jai mummy di, film, review, hindi, 2020
A scene from the film (image source: spotboye.com)

Surf websites on your phone, answer multiple texts, or even doze off for a while; you’ll always return to the film having missed nothing significant. Just 10mins into the film, you’ll start cringing in your seats, wanting the film to end. Believe, there are three points in first half when you are delighted thinking it’s the interval point. But it doesn’t turn out to be. And when the interval actually comes, you are in for a great relief.

If the first half tortures you, the second is no less. Fights with the first one with equal zeal in troubling you. Things keep happening, for no rhyme or reason. The plot revolves around the mothers and their perennial squabble. But it seems the makers simply forgot to tell you what the matter in the first place was, till the very last scene. At a time when the conflict is resolved, it’s shown in a such a trivial manner that you can’t stop cursing the makers for making you invest in it, for the entire runtime.

Thankfully, the film isn’t even 2hrs long. The only good part about it is this.


Sunny Singh is just like all his previous films. A little stupid, nicely handsome, trying to be funny and charming. He’s repetitive. He is only okay.

Sonnalli Seygall does fine but the writing is so shabby that it doesn’t give any actor scope to showcase talent. She looks stunning. And also does what is asked of her. Can’t blame her for the tired writing. Blame her for choosing this film.

Supriya Pathak and Poonam Dhillon, both sharing almost equal runtime hardly do anything concrete in this lethargic piece of art, if you can call this so. They are good actors, Pathak being extraordinarily amazing. She tries to lift it in a couple of scenes, but the overall impact is restricted.

Alok Nath makes a tiny appearance like a commodity used to fill the frame.


Music by an army of composers is below average, just how you would have expected. No song has the power to even make you listen to it, forget casting any spell. Score by Hitesh Sonik also lacks big time. The film is a boring affair, also due to half-hearted attempt at the score.

Jai mummy di, hindi, film, review, 2020
Sunny Singh and Sonnalli Seygall during promotions (image source: socialnews.xyz)

Cinematography by Sanket Shah is poor and too basic. The visual appeal is regular and routine. Production design is still good in some parts whereas in some, it appears to be nothing less than tacky.

Editing by Dev Rao Jadhav and Chetan Solanki couldn’t achieve any standard. Not their fault. The wafer thin plot hardly provides them with any material to play with.

Why why why? Why was the film made? Why did so many people associated with this felt that this could work? Were they all high on something? Or it is just a random project which the director just set out to make? Even student projects are much ahead of this one. DO NOT watch this.

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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