‘Veere Di Wedding’ review: Why should boys have all the fun?

Parallelly the skulls from the various cupboards are falling all over the place.  No, they do not happen like in all movies.  This marriage is not from the Sooraj Bharjatiya album. 

By Author  |  Published: 1st Jun 2018  6:04 pm
Veere Di Wedding movie poster. Source: Twitter.

Only this time, it is not PC on a Pink scooty but four full of beans gals who live life on their terms and unapologetically.  The gang of four is an urbane version of the “thoti gang.” They are one who are not worried of calling a spade a spade, sometimes even a shovel. With a cast that is script doctored to a nicety, everything is good on the eye.

The script flows effortlessly and even the contrived does not weigh heavily. Full marks to Shashanka Gosh (the film maker) for making an unpretentious film with a strong statement but having to go to town with it. Like many a person in our times, they are emotionally dysfunctional socially uncomfortable, economically fine and emotively in a crunch situation. Back from school days there is a streak of the revolt in them.

We have Kalindi (Kareena) Sakshi (Swara Bhasker) Meera (Shika Talsamia) and Avini (Sonam). Kalindi is a career-oriented gal whose parents (Kavita Ghai and Anjum Raja Bali) have had a tumultuous marriage. She connects more to her paternal uncle Suraj Pura (Vivek). The film is when the four gals get together.

Avini is a divorce lawyer at the Tees Hazare courts with Mom (Nena Gupta) eagerly groom hunting for her. Meera has revolted against her dad (Harpal Singh) and is with John (Edward Sonenbock). Saakshi is living through a broken marriage with Vineet (Suraj Singh) and her rich parents can do nothing about her wild life and reputation. When Rishabh (Sumeet Vyas – a polished performance) proposes a marriage she hesitantly agrees to convert a three-year relationship into an institutional approved label. That is where things begin to go wrong. Kalindi is very uncomfortable with the style and grandeur of the marriage. She is silently giving in.

Parallelly the skulls from the various cupboards are falling all over the place.  No, they do not happen like in all movies.  This marriage is not from the Sooraj Bharjatiya album.  Neither is it the Karan Johar scene.  Not even the Party (Shayam Benegal) scene.  It is fun most of the time.  Serious for those who are willing to examine beyond the periphery.  The film first liberates the men more than the women.  It prepares them to understand that women have a rightful space of theirs own and they are willing to grab it and are no longer waiting for the platter to arrive.

Fortunately, they do not see it as a social revolution for the gender.  They are just those who are comfortable in their skin and are unwilling to be pushed around.  Kudos to the film maker for daring to deal with a topic of this kind.  More importantly kudos for dealing with it without sermonising and pelting platitudes. The gals are fun. Swara Bhasker is a class act.

Shika Talsamia is a riot. Sonam is a class act. Kareena comes into her own after a long while.  She makes her statement without being too strong or too vulnerable. It is a balance on which much of the film depends and she delivers with the élan of a Kapoor . This is a commercial salute to Pan Nalin’s Angry Indian Goddesses . It is worth coming together of KJO and Ekta.   Go for it . We do not get such bold yet not loud films too often.