Seenti-maar dialogues, exceptionally built characters, good music, brilliant casting and two Kangana Ranauts-
A lavish meal for you served with another extraordinary talented lad-Deepak Dobriyal.
Tanu Weds Manu released in 2011 and it was a fun film. It wasn’t exceptional and I never expected a sequel but it was nice to see something different, it was nice to see a female protagonist get ample amount of screen space, not just as an actor but as a character.
The sequel came as a surprise and I really wondered what made Anand Rai go for this one. At first, I thought it might just be another cringy sequel but then I had faith in his filmmaking capabilities because I had actually loved Ranjhanna.
The most interesting part about Tanu Weds Manu Returns in the beginning was Kangana, as Datto, the Haryanvi college girl. Kangana’s always given power packed performances and she’s always been brilliant, but highly underrated.
Thanks to Queen, now she’s being accepted and Kangana, as Datto was an eye candy.
The film begins quite abruptly (at least for me) as we get an insight into the estranged marriage of both Tanu and Manu.
It’s quite typical and I thought it wasn’t working till the character of Datto came into the picture. But even though there were problems with the screenplay in the beginning, the dialogues worked majestically. The dialogues and Deepak Dobriyal saved the film till Datto got introduced.
And after that, Rai’s film hardly hit a false note. What I really liked about this film was that Rai kept it quite simple.
The characters are relatable and we’ve all seen such people around us.
Even though these characters belong to a middle class family, they have their complexities and they make mistakes, like we all do and they have the power to break stereotypes, they have the power to surpass cliches.
Though some people might feel that the climax degrades women, as Manu sticks to his original Tanu (SPOILER) and he doesn’t choose Datto, but that’s probably the harsh reality? That’s how people are.
Rai never made a film on idealistic characters and both his protagonists are screwed people. They are messed up and they are far from perfect. Datto’s the only sorted character in the film, but I’m sure she’s got her flaws and Rai didn’t highlight them because that’s how a creative person works and if we look at it rationally, then we’ll see how Tanu and Manu actually loved each other. It was the ego that came in and later on, it was the distance and Datto’s presence that made them realise how much they felt for each other.
Another thing that left me quite awestruck was the way Rai placed Datto’s characteristics. Without a doubt, you’ll come out of the theatres loving her unconditionally. She belongs to a small village, she belongs to a conservative family, but that doesn’t stop her from being independent or having a broadened mentality.
She’s a self-made woman, she’s a national athlete, she’s a graduate-She has no problems with Manu’s first marriage, she has the ‘balls’ to fight for the person she loves and she even has the ‘balls’ to let go off him because she cares about everyone’s happiness and she’s selfless.
Rai’s writer Himanshu Sharma’s brilliant and the way he has created Datto, I’m sure it’s gonna stay with people for a really long time.
Technically too, it’s a wonderful film and all the departments deserve the acknowledgment. The music by Krsna Sola compliments the film and is truly outstanding. Banno Tera Swagger and Ghani Bawri leading from the front-They’ve already become hit dancing numbers, followed by the beautiful Mat Ja Re.
The casting is so brilliant that you can’t help but praise each and every actor. Madhavan shockingly didn’t have much to do, but he still leaves a mark. I don’t think anyone can cry like him, he makes your heart sink whenever you see him enacting an emotional scene. (Took me back to Rehna Hai Tere Dil Mein, one of my all time favourites)
Mohammed Zeeshan Ayub, Jimmy Shergill, Swara Bhaskar and Eijaz Khan-They all have small but really important bits in the film, especially Jimmy Shergill and all of them are extraordinary. (We really need to see more of Shergill, he’s class-apart)
But TWMR belongs to Kangana Ranaut and Deepak Dobriyal.
Deepak Dobriyal’s comic timing is so perfect that he can actually transform a Manoj Kumar into a Navjyot Singh Sidhu.
He’s underrated, impeccable and pitch-perfect, hope to see him a lot more.
And what can one say about this powerhouse of talent? The exceptional, the mesmerising Kangana Ranaut?
She slides into both the characters with ease and forms two completely different personalities with sublimity.
As the wild and impulsive Tanuja Trivedi, she makes us believe that not everyone’s sorted in life, she’s messed up and broken, yet she hides it with her unnecessary wit and overconfidence. There’s a small moment in the ‘Move On’ song where you’ll notice her expertise.
^Notice how her expressions change after 1:34 seconds:It’ll blow your mind, that small moment speaks for Tanu’s dilemma and Kangana’s brilliance.
And as the old-school-girl Datto, she’s adorable and powerful at the same time. There’s another small moment in the film where Datto quite tranquilly calls off the wedding and walks away confidently, in the end breaking down like a small baby.
It’s a tear-jerking moment and you might just shed a few tears along with Datto.
Kangana’s finally getting her dues and I’m so glad that she exists.
Even though there are a few loopholes in the film and it takes a few bumpy turns, you will still enjoy this film, as it’s heartfelt and real. Anand Rai’s a genius and Himanshu Sharma’s an envious writer-Special commendation for the dialogues and if you still need just one reason to watch this film?
It’s Kangana Ranaut.
‘Vo Dekh Kabootar’