Tanu Weds Manu Returns (4.5/5)
Directed by: Anand L. Rai
*ring: Kangana Ranaut (x2), R. Madhavan, Deepak Dobriyal, Mohammed
Zeeshan Ayyub, Jimmy Shergill, Swara Bhaskar and Eijaz Khan
There are some movies which take off right from the beginning. ‘Tanu weds Manu Returns’ (or TWMR) is one of those films. It’s a laugh riot, from start to end, and (arguably) there is not even a single dull moment in it (yes, despite it being primarily a story of a re-marriage). In fact, I haven’t seen such laud clapping and cheering on a movie’s scenes in a Delhi multiple for a very long time. And it was quite frequent - all credit to some witty one-liners in the film and some bold performances led (by example) by Kangana Ranaut.
There are some movies which take off right from the beginning. ‘Tanu weds Manu Returns’ (or TWMR) is one of those films. It’s a laugh riot, from start to end, and (arguably) there is not even a single dull moment in it (yes, despite it being primarily a story of a re-marriage). In fact, I haven’t seen such laud clapping and cheering on a movie’s scenes in a Delhi multiple for a very long time. And it was quite frequent - all credit to some witty one-liners in the film and some bold performances led (by example) by Kangana Ranaut.
A Worthy Sequel:
Given the fact
that ‘Tanu weds Manu’ (TWM) was quite a good film in
itself, which ended in a ‘happy ending’, I was skeptical of its sequel and thought they might just spoil the brand value of TWM
by getting on the “sequel bandwagon”. Thank God, I was wrong! TWMR is surprisingly a very well-written
sequel and twice as funny. Also, it’s very interesting to note that Rai could retain all his original actors in the sequel, with added attractions of an additional
Kangana Ranaut (as Kumari Kusum Sangwan aka Datto, Tanu’s look alike) and two other exceptionally
talented actors Mohd. Zeeshan Ayyub (as Chintu) and Rajesh Sharma (as Om Sangwan). All
this actually gives you the real feel of watching TWM 'part two' where the story has progressed after four years of Tanu and Manu's marriage. Moreover, TWMR goes a notch above as an
entertainer.
Story is the Superstar…:
Watch the film to actually witness how well director Anand L. Rai
and writer Himanshu Sharma have developed the plot and story in TWMR. The sequel seamlessly
takes the story forward, from where the first one left. After their high-voltage
drama(tic) marriage in Kanpur in TWM, Tanu
and Manu get settled in London. However, after four years, the vivacious
fun-loving Tanu feels that Manu had become too boring. The couple believes
their marriage had no spark left and seeks counselling after which Manu lands up in
mental asylum abroad while Tanu returns to Kanpur. Later, Tanu herself ‘tips-off’
Manu’s family about his whereabouts. He is then ‘rescued’ by his desi buddy, Pappi(ji) (Deepak Dobriyal). When in Delhi, he spots Datto, a Delhi
University athlete from Haryana, at a college. He then pursues her, falls in
love with her and what follows is a roller-coaster ride to her village in Jhajjar, which is
filled with witty one-liners and some great performances. Almost every scene in the movie is hilarious
(except a few which are engaging and emotionally moving). Also, it’s amazing how Rai and Sharma say a lot with little words: Notice carefully what
Madhavan says in the end while after taking pheras
with Datto. Just 3-4 words, and he explains how he feels.
…and Kangana is
This film, no doubt, belongs to Kangana Ranaut who essays two poles-apart
roles – one of beautiful and careless Tanu and another of self-reliant and no-nonsense Datto. Kangana can carry her
films on her shoulders to Box-Office success, as she did in “Queen” recently. Here, you get two
Kangana(s) for the price of one, and she surprises you with her
splendid and flawless performances in both roles. You can’t ask for more. She is one
of the BEST 'ACTORS' in the Hindi film industry right now, without
any doubt. Is she the lady Aamir Khan - talented, consistent, perfectionist, choosy?
Cultural Melting Pot
It’s quite interesting to note how various regions and cultures
blend in Rai’s movies, via, of course, the great Indian weddings. In ‘TWM’, it was Kanpuri girl-NRI boy plus Bihari
girl (Swara Bhaskar “Payal”) and Punjabi boy (Eijaz Khan “Jassi”). In ‘Raanjhanaa’, it was Zoya and Jasjeet
(Sonam Kapoor and Abhay Deol). And in ‘TWMR’,
it’s NRI Manu Sharma who is seeking to marry for a second time, with Datto, an athlete from Haryana. Meanwhile, you must watch-out for Punjabi-Dandia dance
at the intercultural marriage of Komal, Pappi-ji’s love interests from first
instalment.
Reel Realism
What’s amazing is the authenticity both Rai-Sharma bring to their film
and characters. Datto’s Haryanvi accent is remarkably near-perfect. Even when she is delivering her dialogues at the ‘bullet-train' speed, she
gets it absolutely right. Even Rajesh Sharma does
an amazingly good job while making a moving speech to his fellow villagers, against honour killing. Besides, most of the dialogues (in
Lucknawi-Kapuriya flavor) and sets are quite original, and bring in extra dose of humor. It’s also interesting to note how Sharma and Rai blend contemporary issues in their films narrative: Bhatta Parsaul farmers' agitation in ‘Raanjhanaa’, and honour killings of Haryana in TWMR.
Return of The Gentleman:
R. Madhavan looks dashing and quite convincing even as he plays 40-year-old dejected man (Manu). He does a fine job of playing this “good guy” who is both vice-less and kinda voice-less, and falls helplessly in love with Tanu's lookalike. Though both films belong to Kangana, Madhavan, too, deserves kudos for holding on his own in this subtle and understated role of Manu. To me, Manu's is a nuanced role - he is an NRI doctor who is an introvert but sure of himself, and often conveys a lot in a few words. He represents, perhaps, several of those boys who follow their mother’s words to the “T”, and could well be the most-wanted grooms in the coming times (or maybe not!).
No Character Assassination Here
Not too many writers-directors pay attention to their character artists, and may often seem to be obsessed with the ‘stars’ they cast. Hrishkesh Mukherjee, Ramesh Sippy, Raju Hirani and few others did give a lot of detailing to their character actors’ roles. Similarly, Rai in his last three films has given a lot of importance, colour, layer, and also “length” to his character roles/artists. Be it Jimmy Shergill (as Raja Awasthi), Deepak Dobriyal (as Pappi-ji), Swara (as Payal and Bindiya), Mohd. Zeeshan Ayyub (Murari and Chintu) and even others. They get enough scope to perform, and enough lines to stay with you. Most funny/catchy dialogues - like "Original bhi ye rakhen aur duplicate bhi" and "Hum hain Kandha.." - which are doing the rounds on internet (Facebook, WhatsApp, etc.) are delivered by supporting cast (besides of course Kangana's - "Hum zara se bewafa kya huye, aap toh badchalan go gaye Manu-ji").
Salt to Taste & Music to Story:
Music in Rai’s films is always a chart buster, and songs are never
forced. They
fit into the story seamlessly. And ‘TWMR’ is no different. While I believe both 'TWM’ and ‘Raanjhanaa’ had really good music that has a long self life, ‘TWMR’ music is also good but picks up more after you have seen the film. Young lyricist Raj Shekhar's songs - he also wrote the lyrics for TNM - go very well with the plot, and have beautiful words. My favourites now are “Ghani Bawari”, "Ho Gaya Hai Pyaar Tumse", "O Saathi Mere", "Mari Gali" and "Banno". On screen, Tanu's drunk dancing to “Ghani Bawari” at
her husband’s marriage procession (Baarat), and Datto's rendition of “Old School Girl” while dating "Doctor Saab" are not to be missed. But for me, “Rangrez”
by Wadali Brothers and “Yun Hi” by
Mohit Chauhan, from ‘TWM’ are
melodies that still haunt. I wish they played “Rangrez” somewhere in the second part
too, even if only for a few seconds. But composer Krsna Solo too needs to be complimented for his music to the film’s
songs. They mustn't been easy. Bang for Your Bucks!
In an age when many films – bulldozed to audience by superstars' ruthless marketing-PR machinery – rake in 100 crores (and we keep wonder – WHY on
earth!!!), here is a film which is super entertainer, yet deeply rooted in Indian ethos. Films like these affirm that a good story/film
can (and will) come in from our small towns, and not just big cities like Mumbai, Delhi,
etc. Anyways, this movie is a full paisa vasool entertainer. DON'T MISS IT.
#TanuWedsManuReturns #KanganaRanaut #AnandLRai #TanuWedsManu #MovieReview #Tanuwedsmanuretrunsreview #ReviewTanuwedsManu
First posted on 24.05.2015. Edited & Updated on 30.05.2015.
(Images for representational purposes; copyrights with respective copyright owners)
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