Karthik Aryan, Bhumi Pednekar, and Ananya Pandey – a remake of the 1978 matrimonial comedy Pati Patni and Wo – among the three lead actors of Mudassar Aziz, as well as many other backs and in front of the camera, were not born at the time of origin, production and direction. Chopra was released by BR. They are products of a different era. Therefore, the 2019 reunion of the middle-class man who comes for his secretary and endangers his marriage, holds no baggage of the past. This is Pati Patni Aur Woh’s own animal. This is both an advantage and a disadvantage.
- Cast: Karthik Aryan, Bhumi Pednekar, Ananya Pandey
- Director: Mudassar Aziz
- Rating: 7.1 stars (out of 10)
It is an advantage because 41 years on, the battle of the sexes – a legitimate theatrical genre in vogue since the Elizabethan era – that once passed muster without questions being asked is no longer in the realm of the easily acceptable. Placed in the context of the demands of political correctness, this form of comedy would be deemed gender insensitive, if not outright sexist.
It is another matter that Bollywood has often seen the funny side of the troubles that a two-time husband invited for himself and his legally supportive partner. From Hrishikesh Mukherjee’s Rang Birangi (1983) to David Dhawan’s wife number 1 (1999), Billy Wilder’s The Seven Year It, where Marilyn Monroe was chosen as the female fatale, married men vary Was inspired to give the degree. With infidelity on the big screen. But then men in Hindi films get away and start getting very bad – murder and scuffle, quarrels and rift. Women have a more difficult time at shorter intervals.
To begin with, Pati Patni and he both ask the wife and the other woman to objectify, but as the comic caper moves forward, the primary impulse allows both women to grab all the aces. They actually do – the film’s refusal rests on their admirable ineffectiveness – but the wrong man is still someone who is considered worthy of a pardon so that normalcy can be restored after crossing several lines and trust is broken.
Engineer of the Public Works Department (PWD) in Kanpur, the protagonist of ‘Patni Aur Woh’, the innovative ‘Chintu Tyagi’ (Aryan), when he meets his beautiful and wanted wife Vedika (Pednekar) and gets messed up in his life Running away with Tapasya (Pandey), a Delhi girl, who arrives at her office for the allotment of a plot for the proposed leather and clothing boutique.
The small city-big city divide is the major cause of discord between Chintu and Vedika. The former is happy in Kanpur, the latter is keen that the couple relocate to Delhi and seek a more exciting life. It is not that Vedika’s existence is dull. Nor is it Kanpur. She is a woman who knows her mind and has chosen Gauche Chintu as her life partner because she has quite a rebellious task.
You know that the world has moved on and the pace of life has grown very fast when a couple does not have to wait for seven years when Chintu and Vedika get married for only three years when monotony and boredom start. is. Apart. While the woman has a teenage fan – Rakesh Yadav (Shubham Kumar) – in a physics class which he teaches at a local college, the husband seeks excitement outside his marriage age.
Her students are enamored with Vedika because they think she looks like a movie star. She asks: Which movie star? Kareena Kapoor, the boy answers. In a small town, she cannot be kept: she is the ‘ban’ she has presented herself to get back in the ‘rebellion’ of marrying her longtime lover Doga (Sunny Singh), a man whom We see after much water first. Flowed under the bridge.
The health with which Chintu turned his austerity into an austerity. He starts enjoying his company and helps with his friend and co-worker Faheem (Aparshakti Khurana), he becomes the girl’s regular chaper on his quest for the city. To earn the austerity sympathy, Chintu lies to him that his wife is related to him. One lie leads to another and the protagonist is trapped in a tangle.
Like in 1978, the blossoming relationship between Sanjeev Kumar-Vidya Sinha-Ranjita starrer, Chintu, and Tapasya is fully platonic. It is his guilt that drives Chintu to resort to lies and lies and do everything in his power to keep the truth from his unworthy wife.
When Vedika stumbles upon what is going on behind her back, she is quite shocked. But she does not mop. He goes out of wedlock, leaving Chintu to repentance to his misdemeanors. The last half hour of Pati Patni and Woh, dedicated to the person who learns the hard way that love is more than just skin deep, is a drag. In the first half-hour, there is no great shake-up of the stage.
A part of the middle is funny as Chintu and Faheem devise ways to protect their husbands from harm. But the two women in the protagonist’s life whose paths cross for the first time when the two descend into the PWD building with the intention of having lunch with that boy are never in danger of losing theirs.
The actors give the film all they have. Karthik Aryan is quick to hit his stripes, Bhumi Pednekar draws sultry sirens as effortlessly as she does a stay-at-home personality, and Ananya Pandey is perfectly cast as a wide-eyed girl. Is the one who bites the hero with his feet. But holds its own land. Aparshakti Khurana as a fast-talking Faheem serves as the perfect foil for the adulterous hero.
This story by Pati Patni and woh manages to convey two truths: one, the fictional heroines of Bollywood have evolved much faster than their male counterparts and two, the film comedy that churns these days in Mumbai earlier There is no patch on the industry produced in decades. Nevertheless, it is a passive substitute for the real thing, which was lively and vizier yet.
