Banners: Balaji Motion Pictures, Saffron
Broadcast and Media, Anil Kapoor Film
and Communication Network
Producers: Shobha Kapoor, Ekta
Kapoor, Anil Kapoor, Rhea Kapoor,
Director: Shashanka Ghosh
Cast: Kareena Kapoor Khan, Sonam K
Ahuja, Swara Bhaskar, Shikha
Talsania, Sumeet Vyas, Vishwas Kinni,
Manoj Pahwa, Ayesha Raza, Vivek
Mushran, Neena Gupta
Writers: Nidhi Mehra, Mehul Suri
Music: Shashwat Sachdev, Vishal
Mishra, Qaran Mehta, White Noise
The makers of Veere Di Wedding initially promoted the movie with a tag line that said, ‘It is not a chick-flick’. While the film does have shades of that genre, it is so much more than that. After the release of a very happening trailer, the audience, especially girls and girl gangs, have been eagerly looking forward to the film. A stellar star cast and chartbusting songs have only upped the anticipation for this movie.
The film is about four girlfriends, or ‘Veeres’, as they call themselves, who have stuck by each other since they were in school together. As they venture into their late 20s, their lives, which have changed drastically, bring them together for the wedding of their favourite Veere, Kalindi (Kareena Kapoor Khan).
As Kalindi gears up for a wedding she is very sceptical of, in full-fledged Delhi style, her friends – the desperate-to-get-married Avni (Sonam Kapoor), the drunk, separated rich brat Sakshi (Swara Bhaskar) and the sweet, married mother of one Meera (Shikha Talsania) – come together to support her through this glamorous mess.
As the girls deal with the hoopla as well as their personal problems, major issues surface during the wedding. Friendships are tested, tense relationships are worked on and revelations are made. How the four Veeres survive this roller-coaster ride and show us the true meaning of friendship is the crux of the story.
The film’s biggest USP is four strong women giving the finger not only to society but also to all the ridiculous norms it prescribes for them. The writers, Nidhi Mehra and Mehul Suri, have their finger on the pulse of today’s millennials and have shown the central characters in almost the same way that every urban girl in India today sees herself.
The writing is decent with good punch lines but, more importantly, it delivers a strong dialogue that is so relatable to the kind of conversation that runs through an actual girl gang that it just might have been picked up from there. However, the mandatory dramatic family scenes get a little cheesy at times.
The nonchalant conversations about sex that the women have with their BFFs, casual expletives thrown in here and there, even while eating gol gappas, teasing each other for their weird liaisons, is something that has become the new normal for the generation of 20-somethings today and the writers have picked that up brilliantly.
Another progressive element in the film is how a live-in gay couple has been included in the ensemble, without showing it in a derogatory way or making a noise about it. This is even more surprising as the film is set in the heart of Delhi.
However, despite all these progressive elements, the writers have resorted to some clichés that pull down the story. The execution of the script onto the big screen is good but could have been better. The film hits the nail on the head when it is essaying some of the core thoughts behind the story of women taking decisions for themselves, making mistakes and learning from them, the reality beyond the happily-ever-after bubble, and most importantly saying that relationships, whether friendships, family, love affairs or marriage, are difficult. But, even with these powerful elements to back it up, the story on the big screen fails to hold your attention throughout the film. The second half drops big time as the climax is endlessly dragged out with family drama.
The producers and director have made sure they engage the viewers, and not just women but men too, as they show the tumultuous times that everyone goes through today. From commitment phobia, to casual hook-ups, to stalking a potential suitor on Facebook, to alcohol-driven sob fests on the streets and finally, to realising that marriage is for the couple getting married and not for their families, this film has it all. As mentioned above, the film manages to get the pulse right but does not go deeper. The best way to approach this film is to expect an entertainer rather than a feminist film.
The film is shot beautifully across Delhi and Thailand. Every frame reflects what the four women as central characters promise, which is charm and glamour. The songs of the film have been a hit ever since the first track came out. The promotional track Tareefan is still a crowd favourite but the fun, emotional feeling of Veere, the in-your-face lyrics of Laaj sharam and the feet-thumping, head banging of Pappi le loon are winning the audience too.
Performance-wise, Kareena Kapoor Khan is the belle of the ball as she makes her comeback with this film. Looking like the diva that she is, the actress gives yet another fantastic performance as the commitment-phobic Kalindi. It’s a treat to watch the talented Kareena on big screen after a small hiatus.
Sonam K Ahuja tries her best to match up to the diva level but falls short and looks uncomfortable in some scenes. Swara Bhaskar as the brash, no-nonsense rich girl adds a quirkiness to the cast. And Shikha Talsania as the peacemaker of the group is adorable and hilarious. Sumeet Vyas is great with whatever punch lines he gets. While Vishwas Kinni is good, Edward Sonnenblick is decent. Ayesha Raza and Manoj Pahwa are a hoot. Neena Gupta and Ekavali Khanna are decent and so is Vivek Mushran.
Verdict: A sure-shot winner at the ticket counter. HIT!