The only difference is that this time they are on the opposite sides of the fence. B.Ed, the degree that could get you a job, the double-breasted coats, the feeling of the sari coming apart without that safety pin, the tantrums of Bajaj scooter and the use of Limca to get over that pukey feeling, it is all there.Īnd when you begin to feel that Sharat is only good at creating the scene, he slips in simple observations on love, marriage and divorce and how ego can ruin relationships.Īfter Aankhon Dekhi, Sanjay Mishra and Seema Pahwa once again recreate the magic of ordinariness. Perhaps for the first time the RSS shakha finds a place in a mainstream film as a routine feature. Be it the sound of Pandit Bhimsen Joshi rendering “Mile Sur Mera Tumhara” or the use of Kumar Sanu songs to create the atmosphere of the 90s, Katariya has filled the ambience with many little gems that you won’t forget in a while. It is a space that Rajshri used to exploit.
For once we have a film from a studio which is not trying to be rooted. There are no grand designs, no mawkish emotions and yet it is deliciously entertaining. It is one the most relatable and grounded films from Yash Raj banner in the last few years which never resorts to crowd pleasing tricks after taking a detour from big city “Dhoom” to the seemingly drab routines of small town India. Add to it Sandhya’s brimming self esteem and their relationship hits a rough path even before it gets started.Ĭast: Ayushmann Khurrana, Bhumi Pednekar, Sanjay Mishra, Seema Pahwa, Alka Amin, Sheeba Chaddaīottomline: A welcome reminder of simple joys and sorrows of life, watch it with somebody you love.
In her, Prem’s father sees a bahu who could help improve the family’s economic condition. Sandhya is overweight but unlike Prem she is educated and talented. Prem, a high school fail boy who runs a music recording shop, is forced to get married to a plump Sandhya in group marriage. Set in 1990s, an era which we often mock at as over the top in pop culture, Sharat brings out the nuances of the period. This week the banner breaks the stereotypes with a flourish as debutant director Sharat Katariya takes us to the holy towns of Haridwar and Rishikesh to celebrate ordinariness. And Yash Raj Films is often the culprit in creating these chiffon thick definitions. Our mainstream films have given us such rigid definitions of beauty and the shapes that it comes in that often we end up judging the book by its cover. Face value is a much abused term in our films and through them it stretches into our lives.
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