Rating: 2.5/5
Director Debamitra Biswal scores on simplistic things in a relationship but fails to connect deeply

It’s the first time that you are seeing Nawazuddin Siddiqui in such a role. It’s just the second film of Athiya Shetty and she’s appeared after so long. So as audience, you are served a dose of freshness. And you like that. Motichoor Chaknachoor, apart from this comes with a good inherent message but isn’t able to back it up with equally gripping execution. The title appears with symbolic meanings hidden within but fails to enchant you.

Motichoor chaknachoor, review, film, hindi, 2019
Left- Director Debamitra Biswal and right- a shot from the film (image source:

Anita aka Ani (Athiya Shetty) wants to marry only a guy settled abroad, with no bar on the country, only to be able to show off to her friends and post pictures on social media. Enter her neighbour, desperate-to-marry Pushpinder Tyagi (Nawazuddin Siddiqui) who’s settled in Dubai and has come home for a few days. After ‘words of wisdom’ from her aunt (Karuna Pandey), Ani convinces Pushpinder to marry her, to which he also readily agrees. But things get tricky right after that when Ani gets a surprise.

Read ‘Marjaavaan’ Movie Review Here


Biswal’s story and Sohaib Hasan’s screenplay is energetic, at the time of ideation. Although the story isn’t something very novel, there are elements that still have the power to fascinate you. But the way the story is told doesn’t find you holding on to it.

The film is a case of screenplay gone wrong. While the dialogues entice you incredibly and you feel the punch of the region the film is positioned in, the direction lags big time. The scenes are overly long with action happening at a snail pace, and you get bored. There is also an attempt to incorporate humour as part of the narrative process, but the scenes don’t evoke laughter.

Motichoor chaknachoor, hindi, film, review, 2019
On sets of the film (image source:

The premise touches upon a very pertinent issue of why girls or their parents are crazy for a groom settled abroad. The manner is which Biswal chooses to tell this could be entertaining, if not very much convincing. But it is neither. Not that it’s a dull venture. But it keeps losing you and you are interested only in parts.

There are situations which seem futile and hopelessly placed, only to make you lap it up to them. But they damage the smooth flow of the story. There are also problems in the deliverance. While the film does break the conventional thought put across initially, there are several dialogues about gender, dowry, and marriage which have been used just for the sake of it without any justification or intention of addressing them.

The film has a consistent pace all across and suffers from predictability. The second half is more on the emotional side and serves better than the first.


Nawazuddin Siddiqui can probably never go wrong. He is right up there in the scale and commands the scenes he is in. The character suits him fully and he never for a moment makes you think otherwise. It is also majorly because of him that the story seems real. It is a fine display of skills with which he delivers his lines that everything makes sense.

Athiya Shetty must be appreciated for her brilliant efforts. Slipping into the shoes of a typical girl from U.P., she does make the plot meaningful for you. And of course, do not ever compare her with Siddiqui, for she can never live up to his stature, at least in just her second outing.

Watch the trailer here:

Vibha Chibber, Navni Parihar, and Karuna Pandey- all three are superlative in their acts. Very good and endearing, lending able support to both the leads. You like seeing them contribute in their own ways. And it’s indeed nice.

Sanjeev Vats, Vivek Mishra, and especially Abhishek Rawat are too good too. They bring likability to the entire thing from the sides.


The songs give meaning to the drama conveying things easily. Chhoti Chhoti Gal is noteworthy and to specially look for. Background score by Abhijit Vaghani is average, could be so much better.

What you needed was a very good cinematography by Suhas Gujarathi. It isn’t so. Camera is average. So is the production design by Tariq Umar Khan. There is evidently hard effort in making the sets to look and feel real. But they seem artificial. There is a lot of yellow, pricking you at times.

Editing by Praveen Kathikuloth is good in some parts, needed a deeper thought in some. Overall it works fine. But could be better in portions that stretch the film. The half hearted screenplay doesn’t offer much scope.

If only there was more consistency in writing, the film could have shone brighter. Give it up for actors here who make every attempt to lift it up, which they do well. But it still remains a film that doesn’t do the needful. Not bad. Not good.

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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