<strong>EXPECTATIONS</strong> As is the current trend with majority of Bollywood flicks, soundtrack of <em>Shubh Mangal Zyada Saavdhan</em> too has released alongside the arrival of the film in theatres. Though an early release of the jukebox can well help gain added popularity in days preceding to the film's release, one wonders if this trend would reverse in time to come. Moreover, yet again there are three recreated songs in this album which has over half a dozen numbers in there. <img class="aligncenter wp-image-1077562 size-full" title="Music Review: Shubh Mangal Zyada Saavdhan" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Music-Review-Shubh-Mangal-Zyada-Saavdhan.jpg" alt="Music Review: Shubh Mangal Zyada Saavdhan" width="720" height="450" /> <strong>MUSIC</strong> Yo Yo Honey Singh (composer), Kinder Deol (lyricist) and singer J-Star's <strong><em>'Gabru'</em> </strong>from the album International Villager is recreated by, who else but, Tanishk Bagchi as <strong><em>'Pyaar Tenu Karda Gabru'</em></strong>. A fun track all the way which is already quite popular, especially up North, this one is a celebratory outing with newer lyrics by Vayu. Singer Romy does quite well in rendering this hard-core Punjabi number that is set to be a chartbuster all over again. Tanishk - Vayu come together to create number of songs in <em>Shubh Mangal Zyada Saavdhan</em> and one of their first collaborations is <strong><em>'Mere Liye Tum Kaafi Ho'</em></strong>. Ayushmann Khurranna brings himself behind the mike for this Vayu written number and his voice actually comes across as quite different in here. A decent track which is easy on ears, it comes across as a situational number at best as it doesn't really have that punch in there to emerge as a chartbuster. Second recreated song in the album is <strong><em>'Arey Pyaar Kar Le'</em></strong> which is a take-off on Bappi Lahiri and Anjaan's <strong><em>'Yaar Bina Chain Kaha Re'</em></strong> from Anil Kapoor and Amrita Singh's <em>Saheb</em>. A good recreation by Tanishk Bagchi and Vayu, this one has Bappi Lahiri's voice been retained which actually works tremendously for the song. While Ayushmann Khurranna chips in as well, the real fun is to listen to Bappi Lahiri due to his unique vocals. A good take on 80s nostalgia. It's time for the Kakkar family to come together for <strong><em>'Ooh La La'</em></strong>. While Tony Kakkar writes and composes this one (along with Tanishk Bagchi), his sisters Sonu Kakkar and Neha Kakkar take centre-stage to let their hair down. A fun number all the way, its promotion surprisingly kick-started quite late in the film's campaign and it could well have been beneficial had this been earlier. Not that the song is a huge chartbuster in the making but still it has the kind of energy in there that would have pepped the film even further. Mika steps in soon after for Tanishk - Vayu created <strong><em>'Aisi Taisi'</em>.</strong> Though the fun element is intact this time around as well, as has been the case with most of the songs heard before, at the end of the day it only fits in the needs of being a situational outing. Same is the case with <strong><em>'Raakh'</em></strong> which is actually a melancholic outing and arrives out of nowhere. Though Arijit has sung for this Tanishk - Vayu creation, the punch is not really there and you don't quite crave to return and give this one a repeat hearing. There is some fun that comes to the proceedings though Anuradha Paudwal and Mohammad Aziz's <strong><em>‘Kya Karthe The Saajna’</em></strong> from Anand-Milind's <strong><em>'Lal Dupatta Malmal Ka'</em></strong> is sampled for <strong><em>'Kya Karte Thay'</em></strong> by Tanishk Bagchi and Vayu. Though Zara Khan tries to bring in something quirky to the proceedings, the fun element actually comes in when the original makes an appearance. <strong>OVERALL</strong> The music of <em>Shubh Mangal Zyada Saavdhan</em> turns out to be decent enough with a couple of songs making an impression, albeit both being recreations. Somehow the new songs that have been created for the film don't quite cover the distance and had there been a chartbuster ortwo there, it would have only helped the soundtrack further. <strong>OUR PICK(S)</strong> <em>‘Pyaar Tenu Karda Gabru’, ‘Arey Pyaar Kar Le’, ‘Ooh La La’</em>

21/02/2020

Over the last three decades, Bollywood has come up with quite a few films on homosexuality like FIRE [1996], MY BROTHER NIKHIL [2005], EK LADKI KO DEKHA TOH AISA LAGA [2019], ALIGARH [2016], MARGARITA WITH A STRAW [2015] etc. Aanand L Rai and T-Series are now all set to bring SHUBH MANGAL ZYADA SAAVDHAN and unlike other gay-themed films, this one is light-hearted and looks quite commercial. Moreover, it stars Ayushmann Khurrana, who has become a brand in himself. So does SHUBH MANGAL ZYADA SAAVDHAN manage to entertain? Will it succeed in becoming the first legitimate LGBT-themed hit film of Bollywood? Or does it fail to succeed? Let’s analyse. <img class="aligncenter size-full wp-image-1077035" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Shubh-Mangal-Zyada-Saavdhan-1-26.jpg" alt="" width="720" height="450" /> SHUBH MANGAL ZYADA SAAVDHAN is the story of two men in love in Section 377 era. Aman Tripathi (Jitendra Kumar) is the son of Shankar Tripathi (Gajraj Rao) and Sunaina (Neena Gupta), who are based in Allahabad. Aman works in Delhi and unknown to his family, he's a gay and is living in with Kartik (Ayushmann Khurrana). Jitendra's cousin sister Goggle (Maanvi Gagroo) is getting married and Neena calls Aman to come back to attend her marriage. Aman at first refuses but then gives in. Kartik also joins him and they meet the entire Tripathi family in a marriage special train called Vivah Express. In the train, Aman and Kartik kiss when they assume that no one is looking. Sadly for them, Shankar sees them and he gets the shock of his life. He doesn't tell anyone about it out of shame. At Goggle's marriage, Aman, in front of everyone, kisses Kartik, thus astonishing the Tripathi family. Thanks to this development, Goggle's to be husband refuses to get married. In anger, Goggle runs away. Kartik is asked to leave and Shankar's brother and Goggle's father Chaman (Manurishi Chadha) drops him off to Allahabad station. At the railway station, Kartik bumps into Goggle and stops her from ending her life. She tells Kartik that he shouldn't run away and that he should fight for his love. This motivates Kartik and he decides to return to win over not just Jitendra but the entire Tripathi family. What happens next forms the rest of the film. Hitesh Kewalya's story is decent and had the potential to be a game-changer. Hitesh Kewalya's screenplay however is a big culprit. Under the pretext of making situations funny, he resorts to too many difficult-to-digest situations. This was prevalent in SHUBH MANGAL SAAVDHAN as well but there, they kept a nice balance. Here, the balance is just not there. The first half is still decent. But in the second half, it all goes downhill. Hitesh Kewalya's dialogues are witty but some of them are just over the top. It won’t be wrong to say that even the one-liners, which are supposed to be funny, take away the realism from the film. Hitesh Kewalya's direction is weak. The film has lot of subplots but he doesn’t put it together well. A major chunk of the film is about rift within the family and during such times, the principle homosexuality angle takes a backseat. Also, he should have succeeded completely in two aspects – comedy and messaging. Sadly in both these areas, he doesn’t do justice. Even the black cauliflower angle that provided laughs initially proved to be the biggest downer of the film in the climax. It gave a bad déjà vu of the ‘kala bandar’ angle of DELHI-6 [2009]. On the positive side, he handles few scenes with élan and some scenes genuinely raise laughs. SHUBH MANGAL ZYADA SAAVDHAN’s starts off on a funny note and the subplot of black cauliflower appears hilarious. Devika's (Bhumi Pednekar) scene too adds to the fun. The scene where Shankar Tripathi catches the lovers kissing brings the house down. Scenes like Aman kissing Kartik in full public view and Aman talking to his parents about dopamine and other such stuff keep the interest going. Post interval however, the film drops. The scenes are supposed to be funny but don't make you laugh. Also it becomes too preachy and unconvincing. The makers try their best to make things interesting but it doesn't work. <span style="text-decoration: underline;"><strong>Shubh Mangal Zyada Saavdhan | Public Review | Ayushmann Khurrana | Jitendra Kumar | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/shubh-mangal-zyada-saavdhan-public-review-ayushmann-khurrana-jitendra-kumar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ayushmann Khurrana shockingly is not in his usual form. He has always played the victim but here, he plays the instigator and an actor of his calibre should have hit the ball out of park. Shockingly, he goes overboard. The other bigger shocker is that his screen time is very limited. Believe it or not, Gajraj Rao has the maximum screen time followed by Jitendra and then comes Ayushmann! Gajraj Rao however is too good as always and performs as per the script. Jitendra Kumar fits the role to the T and few of his scenes in the first half are great. Neena Gupta is average. Manurishi Chadha and Sunita Rajwar (Champa) do justice to their respective parts. Pankhuri Awasthy (Kusum) is quite funny. Maanvi Gagroo raises few laughs. Neeraj Singh (Keshav) is decent. Bhumi Pednekar is passable while Gopal Dutt (Doctor in the train) is okay. Music is peppy and gels with the film. <em>'Pyaar Tenu Karda Gabru'</em> is the best followed by <em>'Arey Pyaar Kar Le'</em>, which is played in the end credits. <em>'Ooh La La'</em> comes at a great point while <em>'Mere Liye Tum Kaafi Ho'</em> is forgettable. The recreated version of <em>'Kya Karte The Saajna'</em> sounds great but is not utilised well. Karan Kulkarni's background score adds to the quirkiness of the film. Chirantan Das's cinematography is appropriate. Ravi Srivastava's production design is in sync with the film’s setting. Ankita Jha's costumes are realistic and special mention should go to Ayushmann’s look. Ninad Khanolkar's editing is sans complaints. On the whole, SHUBH MANGAL ZYADA SAAVDHAN is a decent attempt and makes an interesting comment on homophobia which exists in our country. At the box office, it has the chance to work with the urban audiences, especially the youth. However, it will be a challenge to bring in family audiences and the audiences from small towns and cities. The presence of Ayushmann Khurrana may give a boost to its collections.

The gay characters are self-respecting men dead against the idea of marrying a woman out of convenience. Parental denial is also addressed head-on, and frowned upon using clap-trap dialogues.

If one were to rewind a bit, we have had Dostana, which introduced the idea of two brawny men as a pretend gay couple and the hilarity it would induce.

All you wanted to know about Shubh Mangal zyada Saavdhan.

Vinod Mirani gives us the weekly box office verdict.

<em>Shubh Mangal Zyada Saavdhan</em> is not so much a homosexual romance as it is an exuberant appeal imploring conservative Indian parents to accept and respect their children's choices, gay or straight, notes Sukanya Verma.