A STRONG AND SINCERE ATTEMPT, ‘VEERE DI WEDDING’ LEAVES YOU UNSATISFIED

Filmmaker Shashanka Ghosh tells a dramatic tale of making choices in life and standing by them by means of genuine female bonding in a modern Indian urban set up. It could have been much more though

We’ve had quite a lot of male friendship/bromance stories in Hindi cinema in the past, almost all of which have been loved immensely. Veere Di Wedding is probably the first time ever, where the audience has witnessed ladies boasting of their affection for each other, in the most charming way.

Veere di wedding, hindi, film, review
Director Shashanka Ghosh (image source: filmcentro.com)
PLOT

Kalindi (Kareena Kapoor Khan), Avni (Sonam Kapoor Ahuja), Sakshi (Swara Bhaskar), and Meera (Shikha Talsania) are childhood buddies. It is only when Rishabh (Sumeet Vyas) proposes to Kalindi that her life takes a turn. While Avni has grown up to be a divorce lawyer, Sakshi is struggling in her life being on the verge of divorce. Meera, a mother of a two year old son with her American husband is abandoned by her family. With own issues in place, their friendship remains intact wherein they talk about anything and everything right from their problems to their sexual desires/encounters with naturally arriving slangs.

SCRIPT/SCREENPLAY/GENERAL

The film is written by Nidhi Mehra and Mehul Suri. What is most interesting about the writing is the characters and how they have been etched. Each of the leading ladies have been given distinct traits, which almost everyone in the varied mass can easily relate with. It is this distinct characterisation that makes the film a worthy experience.

The girls are made for each other, are unabashedly expressive, and imperfect to a great extent. They abuse openly, talk about sexual things with no inhibitions with double meanings involved to the core, and don’t shy away from making mistakes. This is exactly what makes them and the film appealing. They are real. They portray the girls in an upper middle class scenario with grace. And you love them for what they are. That’s intelligent writing. You don’t judge them. You don’t term them as vulgar. Let’s give it to the makers for bringing out that reality in the characters.



Veere di wedding, film, hindi, review
Behind the scenes of the film (image source: theindianexpress.com)

There are situations and dialogues that make you laugh, some emotional ones that make you think twice. This is where the beauty of the screenplay lies. The 125mins film is also satisfactorily paced to make you invest in the plot the way it needs you to.

The characters are thoughtfully written. Agreed. Wish it had more thought in the storyline. A lot of the screen time is wasted in merely chattering of the characters with no plot moving. While you should actually be feeling for such relatable characters, you don’t walk with them in their journey or sympathise with them when they fall, despite finding them so similar to yourself.

The drawback lies in the substance and the treatment of the story, which makes the film dragging towards climax with no vigour and enthusiasm. The film in its last 20mins loses its soul, which it had in the first half, so much so that you wonder how is the story connected after all. Things happen just because the story needed fillers to reach to the climax, it seems.

PERFORMANCE

Kareena Kapoor Khan is in her top form. She looks the best out of the four, courtesy great work by make up, styling, and costume department, and performs the best. Ofcourse its not her best act till date, but she delivers what is expected of the role. She’s confused, but giving. She’s immature at times but very mature in some other situations. She’s got to portray a lot, and she impresses you.

Sonam Kapoor Ahuja is good. She’s loud quite a few times. But she manages to make a mark overall. Swara Bhaskar is a welcome change, given the audience has seen her mostly in de-glam avatars in the past. She’s the boldest of all, and remains unembarrassed all through. She’s a delight to watch. An act superbly nailed.

Veere di wedding, hindi, film, review
Behind the scenes of the film (image source: timesofindia.com)

Shikha Talsania is brilliant. In bold, sweet, emotional, and camaraderie sequences, she leaves a strong mark. She will be remembered for long for her act.

Sumeet Vyas has a good role and he lives it up well. He doesn’t have a star appeal, hence suits the character. Vishwas Kini is very good. You laugh whenever he comes on screen.

Vivek Mushran, Anjum Rajabali, Ekavali Khanna, Manoj Pahwa, Ayesha Raza, Neena Gupta along with others lend decent support.

OTHER TECHNICALITIES

Music is good, not great including background score. Although the songs aren’t of recall value, they do contribute to the plot well.

Editing by Shweta Venkat is very good, especially during the scenes where Kalindi visualises things. Cinematography by Sudhakar Reddy Yakkanti is good. The film is visually rich and vibrant. Its also in sync with the mood and tone of the film. Production design by Priya Ahluwalia and Art Direction by Musa Hussain should be appreciated for the authentic feel.

Give it up for costume team (Abu Jani, Rhea Kapoor, Sandeep Khosla) and make-up team (Adhuna Akhtar, Mickey Contractor, Pompy Hans) for a splendid job with the look of the characters. Half the battle is won for this one with how the characters have looked.

 

The film will find many takers in young generation, especially the girls frequenting multiplexes. The film could have been stronger with more detailing to the plot. Its a brave attempt, an earnest one but lacks the punch.

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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