Director Kaashvie Nair and Producer John Abraham’s venture sets out to fuse emotions with humour, but fails to deliver either
A film on structural relocation with the idea involving Indo-Pak partition. Seems far fetched, so much so that not even a single element of the narrative hits the right chords. Ooops, the scenes between Aditi Rao Hydari and John Abraham do make you smile, but they are too less that now, you wish for a spin-off with just their tale for the entire runtime. Sardar Ka Grandson is one of those films that can easily be missed, especially in Covid times where there can be hardly any promotional activity.
Watch the trailer here:
A devoted grandson’s (Arjun Kapoor) mission to reunite his ailing grandmother (Neena Gupta) with her ancestral home turns into a complicated, comic cross-border affair
Written by Anuja Chauhan and Nair with dialogues by Amitosh Nagpal, the concept itself is weak. Right from the stage of concept to how things will have fallen on paper into a script, it would have been a laidback piece of art. Naturally, when it did translate on screen, the fervour can’t miraculously appear. The film is painfully slow. Infact, to get to the main point of the film, the makers take 35-40mins of the runtime, a time period where most of the film these days are very well into their second act.
The conflicts are too many and it seems that nothing is channelised into one direction. The film begins with showing the disturbed love life of the protagonist. It then shifts to family business and who will get what share after the chief’s demise. It again shifts to the second protagonist’s wish in life. The makers seemed to have a skewed idea of what a flow in narrative is. The scenes are crafted like a TV series which goes on and on, without jumps in action. Even a layman can suggest crispness in how the things have played on screen.
Comedy? Very primitive. Emotions? Not relatable. Cross border affair? Too plastic. The entire shape and approach of the film is too dramatic to be real. Mind you, the writers have incorporated more and more conflicts, but instead of making the film seem interesting, they just add to the length of the film. On top of that, a celebration song is a must? Creative freedom, we suppose.
The 139mins film starts to bore you right in the first 10mins, at a point when the central plot hasn’t even begun. There are some good moments which come and go, in the form of flashback scenes involving Aditi-John. You like them, You want more of them. When they are not with you, you wait for them. This wait will make you sit through. Thankfully, the writers thought of this. Or else, you would push the stop button on your screens.
Neena Gupta looks artificial with heavy prosthetics on her face. She acts decently though. She brings in some doses of casual humour and also emotions as the main story revolves around her wish and her house.
Arjun Kapoor is just okay. He has a straight one liner role, with probably no brief to do anything extra. He doesn’t do either. Rakulpreet Singh has a small supporting role of sorts. She is there in the plot to support the man in his endeavours, which she does well.
John Abraham and Aditi Rao Hydari are very good in their guest appearance, giving the film the much needed meaning and charm.
Kanwaljeet Singh is okay, not great. He is there for a major part of the film and you do like him because you know him. Otherwise, it’s not a role to watch out for. Soni Razdan has some fine moments to her own. In the role of an extra possessive and extra hyper mother, she has does a good job. Divya Seth is there. Just there. She doesn’t do anything substantial.
Kumud Mishra has a considerable role, which hasn’t been written well. He however performs well giving his very good, if not the best shot.
The songs by Tanishk Bagchi are fine. Not great. A couple of the melodious numbers do sound good. The wedding number seems totally futile. The background score by Gulraj Singh really lifts some dull scenes. Had it not been for soulful score, most of the scenes would have fallen plain flat.
Cinematography by Mahendra J Shetty is nothing to be talked about loud and wide. It’s mostly artificial supported by tacky and over pompous production design by Sujeet Subhash Sawant and Sriram Kannan Iyengar and art direction by Vijay Ghodke. The house being talked about is clearly made up using CGI and it shows, making the film lose a major feel. The sets, especially those of Pakistan are too empty and out of place that you feel the makers set up the camera in any corner they wished to and started shooting. A frame here. A frame there.
Editing by Maahir Zaveri is also poor, to say the least. Easily, the film could be saved by fine cutting and bringing in sharpness. The lack of sense in editing shows, which thwarts your movie viewing experience from getting entertaining.
This is a film that will become history in no time. Structural relocation as a subject. Nobody cares. The entertainment quotient is weak. The writing is weak. The performances are also inclined towards weak. What is the film good at? It’s not in the theatres.