Shubh Mangal Zyada Saavdhan Movie Review : An Another Starring Movie By Ayushman Khurana

Shubh Mangal Zyada Saavdhan Movie Review : An Another Starring Movie By Ayushman Khurana

 Karthik (Ayushman Khurrana) and Aman (Jitendra Kumar) live together in Delhi. They are a very loving gay couple, they only have eyes on each other. Aman did not come to his parents who settled in Allahabad. His cousin Gagley (Manvi Gagaru) takes a chance on the wedding. His father Shankar Tripathi (Gajraj Rao) chases him away and his secret is revealed. After strife and so much heartburn and misunderstanding, love finally wins.

Coming up with people of the same sex has always been a problem. Hell, we're talking about India, where falling in love with someone of the opposite sex triggers serious reactions like honor killings. So imagine the fear that homosexuals experience when talking about their relationship. The level of anxiety should be a thousand times higher. Our literature and our films also promote only male-female relationships as normal. There is nothing in the mainstream that equals same-sex relationships. So delicately constructed this film is like dialogue. It tells the commoners on the street to let go of his homosexuality and accept all forms of love. In view of the repeal of the old Section 377, only such films were directed by the Doctor to dispel the deep myths of our society. Ultimately marriage is the union of two souls and the fact that souls are asexual, which stands as a case for equal marriage among other things.

Director Hitesh just uses humor, in the end, for everyone, it’s about accepting your family. By using the DDLJ storyline as a template, it tells the story of a disgruntled Indian family struggling with each other despite differences. 25 years after their marriage, Shankar and his wife Sunaina (Nina Gupta) lose their love. Shankar's younger brother Chaman (Manu Rishi) is living under the grief of not becoming a lawyer and living forever under his elder brother's toe. His wife Champa (Sunita Rajwar) is also a younger sister-in-law. Kusum (Pankhuri Awasthi), a neighbor girl who wants to marry Aman in order to have an illicit affair with her lover in the future. Showing that everyone is flawed, the director points out that there really is nothing.

Parents do not take it easy to switch. Gajraj Rao lives for the most part in this film. He goes to the climax of the Shraddha ceremony he did to free his son from 'evil'. He steps on the road to accept only when he realizes that his love for his child has nothing to do with his son’s sexual choice. His awakening at the end of the film is heartbreaking. So the way forward may not be clear, but he seems to be the whole way for his child. This is what children want, in fact parents should support their choice.

Ayushman Khurrana and Jitendra Kumar are in love as a couple. They certainly share a certain chemistry. Their solidarity is not natural. The comfort that the two actors share with each other makes everyone feel trusted. There is no exaggerated femininity in their appearance or gesture or gesture - our films have changed significantly from how traditionally gay people are portrayed. Their worries are couples worries everywhere, their fights are lover fights, nothing more, nothing less. They understand that their love is fleeting. That society will never publicly accept them. And they pacified this fact. Ayushman is playing more flamboyant roles in these two. He is a rebel for a reason and supports the viewer through his antics. Jitendra is one, but his passion throws this relationship openly. Amathen has quiet courage that comes to the fore through Jitendra’s acting. The rest of the cast is good, along with Gajraj Rao and Nina Gupta who are leading the comradeship with Badai Ho.

Watch this movie for its lively comedy, slip around the shows and finally it is a powerful message of love and acceptance ...

Serious matter does not need serious treatment - Ayushman not only understands the auspicious Mars Zyda Sadwan of the Qur'an, but also reveals it. To make gay love look weird, the film marks the journey of a gay couple. Aman Tripathi (Jitendra Kumar) and Karthik Singh (Khurana) - and their struggle to gain the acceptance of the Tripathi family.

Writer-director Hitesh just handles the sensitive subject with charm, and generous laughter. The real success of Shubha Mangal Ziad Sawdhan is that it completely eradicates stereotypes and does not make fun of anyone at the expense of sexuality; The opposition of the family dug for laughter instead.

This film takes on homosexuality, not homosexuality. Shub Mangal Zayed Sawdhan effectively demonstrates the family’s reluctance to adopt his son’s sexuality; They like to live with denial. For example, Aman's scientific father, played by Gajraj Rao, literally throws himself at his son who sees his lover's kiss, and hates him on the face every time he sees Aman and Karthik together. Her mother, played by Nina Gupta, believes that even when she finds out about her son's sexual orientation, it is a disease, a disorder and today they are assured that they will treat her as medical science is so advanced.

I really liked how this movie jumps without wasting time on peripherals. The introduction sets the scene mood, sets the characters and the story. Aman and Karthik are portrayed as a happy gay couple living together in Delhi. Returning home in Allahabad, Aman's parents ignore their son's sexual preferences and try to establish him with a beautiful girl named Kusum (Pankhudi Awasthi).During the wedding train trip to the Tripathi family to learn about the relationship between Aman and Karthik. And the rest of the film is about convincing the family, breaking stereotypes and working for a ‘happy ending’ that they feel they deserve in every way.

All the credit goes to just writing some really hilarious dialogues that will break you every time. Some of them are - Maturity Policy Maturity Beti Nahi ', I Chat Hi Mary Soutan, Jab Dekh Rood Kare Sit Jat Hai', paid for my digest in this country. While there are plenty of them in the first part, there is no humorous nature in the second part.

Also, Amitabh Bachchan - Kaun Banega Crorepati, iconic dialogues from Dewar and some clever hints about Sholay's Jai-Viru song - can catch your attention. In one scene, Ayushman says, 'Amitabh Bachchan is not separated, Om and Tab Mujhe Pet Chal, Hot Amitabh Bachchan'.

Ayushman put another box in his checklist with this picture. He is in form, and pulls clearly without losing his flamboyant character for once. The scene where he questions the nursery rhyme, the lyrics of Jack and Jill and the scene where Jack joins Johnny is very powerful and is likely to become a gay song in the future.

Jitendra’s character is perfect for Ayushman - a man of subtlety, clay and a few words. When he came to his parents, he mentioned love dopamine, hypothalamus and oxytocin - a little disconnect there if the audience did not know what they really meant.

The screen chemistry of Aman and Karthik and watching their last moments together works best. Two locked lips puffy scene at a family wedding, especially when family members come up with a strange story to illustrate it. Do not accept that for the first time in Bollywood a film was made on homosexuality, but certainly for mainstream cinema, it was a very bold move.

Nina Gupta eases the mood every time she comes on screen. A treat to watch his conversation and effortless humor. Able is supporting him, Gajraj Rao, playing like a tough father and making you laugh with his weird style. Although Bade Holo has been praised for his screen chemistry, it feels a little weird here. However, this naughty innocence about Nina brings relief to her husband when he is ‘upset’.

Supporting cast includes actor Manu Rishi as Chaman Tripathi, Champa Tripathi as Sunita Rajwar and Gogal with her daughter Manvi Gagaru in short and melodic parts and thankfully they only look like they are not finally giving carissing. However, different personal stories sometimes deviate from the main storyline and sometimes become the main character.

Understanding well with narration is film music with witty lyrics that describe the mood of the moment. Don’t miss seeing Peppy Numbers - Pyaar Bina Chan Kaha Re - gives everyone a complete retro feel and makes Buppy Dan in a sweet character.

Shubha Mangal Savadhan is an important film that talks about an important subject that is expressed in a simple way without being taught at any time. It touches your heart, makes you smile and stays with you longer.

From the beginning, Shub Mangal Zaida Sawan clarifies what it is about. In the opening scene, Ayushman Khurana's Karthik and his lover Aman (Jitendra Kumar) conspire with their lover to help a friend (Bhoomi Pednekar). As she exits the balcony, the motorcycle, which she believes is the vehicle of redemption, does not start easily, and her father catches the three. When Karthik is hit and Aman gets into a commotion, Bhumi rides his bike ied and runs away at night. The message is clear: there are no lovers in this film, only the rebels are romantic.

Shub Mangal Jyada Sarvadhan was one of the first few mainstream Hindi films to proudly wear its iridescent hat to his gay heart and view sex as a reason for celebration and direct shame and humiliation to those who try to provoke it. One estimate is that they are here: the Aman family in Allahabad, their family mostly non-drama.

There the family patriarchy, Shankar Tripathi (Gajraj Rao), Manu Rishi, Tripathi's reprimanding brother, a mother who is never ashamed to leave the dark gingers (Nina Gupta), and happily mad Sunita Rajwar as his wife. Manvi Gagaru finds out about his 'neglected daughter', the groom Aman's sexuality after his marriage. The rest of the picture is set against this context: in the northern interior the social norms are so strong that a family member must divorce straight away because he is gay.

Now, from Bareilly’s Barfi to Badhai, it seems we’ve got an overdose of comic North Indian family that communicates exclusively through intelligence. In Shub Mangal…, we see the occasional silent moment before the tension continues with another chim. In this sense, the film depicts a lot of fights in the family and the dialogue here is objectively hilarious despite the ‘acquaintance we have with the dialogue’ here. In the film, which also describes how patriarchy shapes women characters, Nina Gupta and Sunita Rajwar get some clever lines as they make a quick return to her husband’s usual comments.

It should be noted that comedy has always been costly for those struggling with the ‘taboo’ of homosexuality, but the relationship between Karthik and Aman is quietly respectful, not ridiculed, for some Bollywood notaries for an important distinction: to absorb laughter from a family’s overdraft meltdown, and something - and It has been shown - that it is different in turning a very simple and straightforward hero into a source of ridicule.

Another aspect that comes up in this film is the destruction of the iconic Bollywood characters and the moments that are still in the odd context. From DDLJ and Aashiqui, Devar removes Bollywood films from his past and incorporates them into a storyline, mentioning Sholay and most importantly, the old symbol of masculinity - Amitabh Bachchan - Shub Mangal. This is a big height for Bollywood.

At the end the film gradually appears to come out of hand. The two sub-plots are not very paired, but the black cauliflower Gajraj Rao grows and is slightly scattered. The metaphor about cultivating something against nature works very well, but it feels a little OTT.

However, Rao is a fully supportive cast in the film, especially Gogroga Gogle.

However, to some extent, I find that the generally believable Khurana is a bit dangerous and hilarious, if he is not sure how to anchor this character, the actor still comes from enduring a difficult past with dog optimism with relentless energy and vigor. She is shown as a no-show, falling into a place of satire, with a Quranic nose and occasionally obscure wardrobe, small touches are not always prevalent but quietly contribute to our character reading. .

However, Jitendra is more patient here, which allows him to take his vulnerability even in moments. It’s a difficult character and he makes it easy.While it is admirable to challenge the queuing concepts of A-list Bollywood star masculinity and radical stories, Shub Mangal jyada saavdhan leaves us with some tough questions.

Should those who have been cruel to their oppressors be tortured, or should they not be tortured now? What happens if violence is directed at your own parents?It is a complex dilemma that is deeply questionable and perhaps the desire for the sacred Mangal Ziad Savdhan, as the film is deeply rooted, not the structural oppression faced by society. The film is in the mainstream blueprint of capturing Bollywood, which can also reach a vast population.

For now, it's an admirable start, just like Article 15, but we must strive to move our films from fiction to a gradually moving level to answer more search queries. And, when the trailer of the film was released, Siddharth Kumar Behera wrote in HuffPost India that there was an expectation that even openly gay people would play important roles.

Homosexual Rome-Com only acknowledges the extra love of its characters - and its viewers - to be extra careful (and more so), their own and the Indian community. But the first director, Hitesh Kevalaya (who put Shub Mangal Savadhan in charge of an independent creative pursuit of the script), does a fair job of doing the hard work that homophobia needs to do when it comes to blowing up humorous jumbles. To blow up broken. Public beyond a point.The film stars Ayushman Khurana and his interested actor Jitendra Kumar, who work hard to convince the audience how deep the two men are in love, as they think there is nothing in the world. Not easy, but they take the whole movie about it with them.

Shub Mangal Jayad Sawdhan narrates his story at the Tripathi family home in Allahabad. They come and the middle class, suffering from all prejudices and prejudices about love, marriage and sex, have always been nurtured by their Indians. The offspring will be led by scientist Shankar Dinanath Tripathi (mighty Gajraj Rao) who will develop more nutritious black cauliflower than the gobi available in the market.

Success with vegetable farmers is not good and anxious tenants will target the Tripathi house. He cares about how he found it. Despite the spiral of control and curfew in the city, Shankar's younger brother, Chaman (Manurishi Chadha)'s daughter Rajani aka Gogal (Maunvi Gagaru, Jeevil) is in Tripathi gear for the long-awaited marriage. OK), a failed lawyer living in the same house with his fighting wife Champa (Sunita Rajwar).

To go to Gomtinagar for navigation, take Family 0377 (note train number) Chirayu Special Express. On the way, Shankar kisses his son Aman (Jitendra Kumar) and his boyfriend Karthik Singh (Khurana). The old man throws: he cancels this action.

During the wedding, Aman and Karthik make a controversial repeat of their PDA. The middle-aged divorced groom calls the wedding. Gogol flees in despair as he reaches the police station shrine on horseback. At the railway station, she meets Karthik, who is also thrown out of the marriage as punishment for his indifference. The former prevents him from jumping over the bridge and ending his life.

The two soul spirits decide to take the bull by the horns, setting the stage for the second part of the film. Creating the final conflict - which is based on another marriage during the Supreme Court’s September 2018 decision under Section 377 - is insane and overly dramatic. Finally, the film seeks to be in the middle of an audience, to see audiences return home with some understanding of the legal status of traditional homosexuals in a hyper-conservative society like ours.

From their side, the two leading characters say their relationship is not too disturbing. In one opening scene, Karthik (still dressed as his Shaktiman from an advertising drill in a shopping mall) and Aman (urgently needed to fulfill their commitment to all lovers, regardless of sexual identity, to ride the ensemble) take on the role of a girl (Bhoomi Pednekar in a guest role) . The end-credit song for the film is a remix of Yar Bina Chan Kahe Ree (a film from Saheb, which was produced 35 years ago) in which gender segregation collapses for good measure.

Shubh Mangal Zyada Sawdhan has dispelled the myth of how its target audience responds to questions that arise in a bright, engaging and sometimes surreal social comedy that establishes Bollywood’s fixed concepts. (Screen Personality of Valor) Amitabh Bachchan is often invited) and heterosexual love (known to Laila-Majnu, Shirin-Farhad and Romeo-Juliet).

But the superstition of the auspicious Mars Zaid Sarvadan has its limitations. A smooch or two between two people in love This movie is ready for risk. Understanding homosexuals is never seen in bed, although they do discuss touch and sleep. Love, whatever it is, Aman names a group of chemicals and hormones that stimulate bodily passion, to drive the subject of science home - dopamine, cortisol, oxytocin. His parents are Shankar and Sunaina (Nina Gupta, the best), but they do not overcome their belief that homosexuality is unnatural.

Ayushman Khurrana, who has been playing borderline pushing and erectile dysfunction ever since he stepped into the role of sperm donor (Vicky Donor), claims and is a mainstream Bollywood star and only he can go so far except for the relationship between the two people in the film.

The moment we see the protagonist as a bare-body, only when he comes a second time in triathletes. Time is important. The family hopes to replace Aman with a new leaf and burn Aman in the hope that he will marry his mother's daughter Kusum (Pankhuri Awasthi). While Aman was watching helplessly Shankar quickly reached the storm house and came out with a stick and it was raining on Karthik.