Does Mubarakan, led by Anees Bazmee of No Entrance and Singh is Kinng fame. But in attempting to squeeze every ounce of hilarity from its scrappy screenplay, the movie goes overboard with its excess cheeriness and swerves in the realms of inanity. In the deal, it loses its own way completely after sending a rather breezy first half.
Mubarakan is usually puerile, sometimes fun, and constantly unabashedly on the top. It’s simply the type of combination of song, dance, comic gags and unbridled lunacy which Bollywood’s mass audience so enjoys. So, there’s superhit written all around the movie, however this puffy concoction only is not for people who have a taste for much more subtle and easy-flowing humour.
Its tunes and comic gags have the regular selection. It attempts to propel itself onto the rear of the enchanting power of intimacy, manages to do a tolerable job pre-interval however, taken as a whole, Mubarakan is and niftily packed crap that never stops reeking of stupidity. If there’s anything positive in this tried laugh riot, it’s its refusal to take itself seriously – a characteristic that stands the movie in good stead when it starts to extend past the plausible and the passable.
Mubarakan is a comedy that revolves round two weddings and a great deal of confusion. Ahead of the lovebirds may get their nuptials solemnized at a gurudwara, they must fly though two-and-a-half hours of chaos brought on by familial pressures and confused amorous liaisons.
The twins separated at birth have been played with Arjun Kapoor. One, Charan, climbs up as a turbaned Sardar at the House of Baldev (Pavan Malhotra) at Punjab. From the movie’s opening sequence, the 2 boys shed their parents at a road accident. Their spinster uncle Kartar (Anil Kapoor), who’s turned into a pastoral section of the UK to a miniature Punjab, divides the orphans involving his two elder sisters then proceeds to gas the chaos which ensues if the duo is prepared for dalliances.
The awkward Charan, five moments Karan’s junior, enjoys Nafisa Qureishi (Neha Sharma) but lacks the courage to let his conservative household understand his feelings to the woman. As a result, his dad and his London-based dearest pick he is a suitable boy for Binkle (Athiya Shetty), daughter of a rich Punjabi (Rahul Dev).
Charan turns to uncle Kartar for assistance so as to scuttle the wedding. The latter and Jeeto wind up fighting violently within the imbroglio they quit speaking to each other. The slighted Baldev asserts he will get a bride for Charan inside a month. He leaves Chandigarh without exchanging goodbyes. The problem is, unbeknownst to the planet, Sweety is the girlfriend of Karan. She’s had the worst possible brush Jeeto, calling her prospective mom-in-law names the latter does not forget in a hurry. The second thing the cocksure Karan understands is that he’s currently the preferred one for Binkle. He, also, seeks the intervention of Kartar so as to wriggle out of this hole he’s dug for himself. However, if it is not as insufferable as the other ordinary Bollywood romantic comedies, part of the credit goes to the actors. Anil Kapoor, who is as irrepressible as ever, brings some lustre to the event with his remarkable energy levels and humorous one-liners.
Arjun Kapoor is much more consistent within his dual character, but he will hit a couple purple stains on the way, displaying a comic flair which cries out for a much better picture than this . The script provides Athiya Shetty the tough end of the rod. Her personality, as Kartar says at a stage, is similar to a tennis match being lobbed back and forth between Charan’s side of the courtroom and Karan’s without being permitted any agency of her own. Mubarakan, nevertheless, gives Ileana D’Cruz much more distance and she gets the most of the chance.
Neha Sharma, at a particular appearance, is permitted small that may be described as particular in a function that certainly deserved more attention. She plays a challenging Muslim woman having a successful law profession who doesn’t fit in the orthodox Sikh brood’s scheme of things and must settle for a hurried, last-minute modification, which involves jumping into a new relationship with Binkle’s brother. That is a copout of the worst type. But to anticipate nuanced and mould-breaking societal dynamics in a movie such as Mubarakan would be to take it more seriously than its manufacturers themselves do.