(Aman’s extended family is in the train, travelling for his cousin’s wedding. It’s one of the rare moments in the film that doesn’t seem earned, rather a product of screenwriting contrivance. Aman’s father, Shankar Tripathi (Gajendra Rao), accidentally sees his son lock lips with Kartik.
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WATCH SHUBH MANGAL SAAVDHAN ENTHUSAN MOVIE
Most of the times, we watch the movie in the case of Shubh Mangal Zyada Savadhan, the movie watches us.Ī brisk piece, clocking just under 120 minutes, the film quickly gets to the main point. In the status quo-reverential world of Bollywood, the problem is either a person or a System. But in Shubh Mangal Zyada Savadhan, the conflict is understood in the finest of moments, even empathised with. It is something to be resolved it’s mostly personal, hardly political. In a typical Bollywood romance, we get a clear sense of conflict. That is so because of a magical construct: perspective.īy flipping the characters’ sexual orientations, and thus the story’s point of view, nearly everything in the movie speaks a new language. Kewalya’s directorial debut, though, is new wine in a new bottle. A couple in love, the desire to get married, and parental opposition - usually by the patriarch. A story that indeed many Bollywood films have told before. Written and directed by Hitesh Kewalya, Shubh Mangal Zyada Saavdhan tells a simple story. The rebellion here is so quiet, so understated – and yet, so alive – that it feels historic, a moment that will glow in retrospect. The film presents us with a presupposition, and we accept it, as we’d have in any other credible story.įurther, the film doesn’t make a big deal about it. Kartik does wear a nose-ring, but he isn’t seen through the lens of ‘quirky’ or ‘different’. Its main characters, Kartik (Ayushmann Khurrana) and Aman (Jeetendra Kumar), are ordinary twenty-somethings: goofy men high on love. Love is love after all, and Shubh Mangal Zyada Savadhan gets this. Why can’t that be true for others? If there were no ‘normal’, then there wouldn’t be any aberrant, either. Or anything else that signals ‘important’, that justifies: “We made a movie about homosexual(s) because…”īut heteronormative people don’t need a reason they simply exist.
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In most Bollywood films, this would have required an explanation or qualification, either about the characters or the story. Shubh Mangal Zyada Saavdhan is a love story – a love story of two men.