Well it is too late to write about Tanu weds Manu Returns(TWMR), as it is
already in praises and loved by the people who have seen it. They have their
opinions made and I do not think I might have any different opinions than
theirs. So here is not a review, but a few praises for the film.
All I can say about myself is I am
too adamant and that's why unfortunate due to that. In the talk with one of the
person of the production of TWMR, I had asked for being a part of the direction
team. But the person said that it is chosen by the director, but are you
interested in production? And I replied, No, I really want to focus
particularly on direction only. There... a year later I sit in a back row and
watch the incredible film made by the team of "Tanu Weds Manu
Returns." Being a
person who is fascinated by the cinema, I could not help but love this piece of entertainment.
Anand L. Rai, has impressed me by a
very distinct direction. He had done so much in Raanjhana, which is still his
best according to me, that was epic love story for me. Here, he knows the
experiments he is doing and he knows how well to execute them. Writing (by
Himanshu Sharma) was fabulous as many character tracks were super-well built,
added and included...and very well intertwined in the screenplay of confusion.
Another best part of direction is, no character changes it's
root-characteristics in any situation, making the haywire looking - crazy
twisted situations that are brought-up - believable and happen-able. What his characters
will, do, react and behave was so well clarified in the head of this master
director is clearly seen and felt.
Music is well used. The degradation
from A.R.Rahman (Raanjhana) to Krsna Solo & RDB, is understood by our ears
but not by our eyes and mind while watching the film. The music suits the film
in a very presentable manner, but not all tracks can be played to change your
mood without the film playing.
A few scenes are decorated and choreographed
very well. The scene where Manu (R. Madhavan), Pappi (Deepak Dobrial) and
Manu's father are discussing Manu's problems and Manu's mom is being cranky in
the background. The scene where Manu sees Kusum(2nd role of Kangana Ranaut) for
the first time and calls up Pappi to continue his lecture. Ofcourse, and the
Initial title sequence is very well choreographed, It had quite a chance to go
either on the opening sequence of the Vikas Bahl directed, 'Queen', or the marriage sequences in
Gangs of Wasseypur, but somehow this one manages to stand out. All the songs
are splendidly captured and they add a great value of awesomeness to the film -
'banno tera swagger', 'move on' and ' ghani bawri' are very good. But, the 'old
school girl' and "ja ja ja Bewafa' from Guru Dutt's 'Aar Paar' are the pinnacle
of use of good music. Plus the way "Ja ja ja Bewafa" is shot, it has
a tinge of Guru Dutt's way of lighting a scene. Thoroughly studied and well
attempted.
Madhavan, Swara Bhaskar, and Mohammad
Zeshaan Ayyub were fabulous. Just super nice to be the side actors. They live
the person written on the script while playing them. Better and way better than
them was Deepak Dobriyal playing Pappi. I mean 'waaah!' Even after having two
fantastic Kangana Ranauts in the film, this guy is equally remembered. And the
King of the film, who got the 2nd role coz of the 'Queen' Kangana Ranaut. (Anand
L. Rai said to Kangana, that only you can compete yourself. Source-IMDB) She is just not her. She is turning
out to be the actress who will be remembered for long coming years. Fearless to
experiment and confident to carry whatever she is been given. Kangana fulfills
everything that director wants her to give on the screen spiritually and technically.
I do not know how does she do it, but as Kusum/Datto, she must have developed a
psychology for that character, the expressions and the traits of that character
are well defined. She is impressive than ever and have pulled of a great task.
And Yes, "Banno...tera swagger does lage sexy!"
For the genre of it and the cinema
over all I would rate it 8.8/10. All of it consisting the maker, the actor and
the musician. Hats off!
The fact that the whole movie was fulfilling in its entertainment quotient is undeniable.
ReplyDeleteHowever I found the plot a bit flawed given Madhavan's indecisiveness in choosing a bride for himself (not to mention poor Kusum's disappointment in the end).
You covered all the points smartly..
do u have anything to say about the plot?
Umm, According to me, the over all one line plot, referring to your question, is an over-stretched post marriage fight in a married couple sees unexpected bad consequences, which then brings in ego between the couple, and the whole plot of the film is about both the characters keeping their ego stronger than their Love, though they want to love each other.
ReplyDeleteSubah ka bhoola sham ko ghar aye toh usse bhoola nahi kehete - Here both the bhoolas want to come home, but are not ready to accept that they are the boolas who left home.
R. Madhavan, who still loves Tanu, is not trying to find a bride for himself, he is trying to find and get another Tanu only. All the film Manu wants his bride to be Tanu only; but given that Tanu is not ready to come back, he chooses someone looking like Tanu how much ever indecisive it seems to him or to anyone else (Pappi constantly says that he is against it).
That's the whole plot.
P.S. What i said about R. Madhavan's subconsious thought process, is clearly shown, when while explaining to Kusum, why he (R. Madhavan) wants to marry her, Manu does address Kusum as Tanu. In return, the innocent Kusum, laughs and says, 'Tanu nahi Kusum!' STATING clearly that Kusum is always his TANU for him.