Bollywood has given innumerable bromance flicks. But there have been hardly any such film involving our pretty ladies. This is quite a shocker as the urban, multiplex audience would love to see female bonding flicks talking about their problems, quirks, way of life etc. Finally Sonam Kapoor and her sister producer Rhea Kapoor took up the challenge and designed VEERE DI WEDDING. Despite their lead actress Kareena Kapoor Khan getting pregnant, they stayed put and refused to shelve the project. The film is now finally out for release and does it manage to meet all the expectations? Or does it fail in its endeavour? Let’s analyse!
VEERE DI WEDDING is the story of four female friends at an uncertain age. Kalindi Puri (Kareena Kapoor Khan), Avni Sharma (Sonam Kapoor Ahuja), Sakshi Soni (Swara Bhasker) and Meera Sood (Shikha Talsania) are the best of pals. Avni is doing well professionally as a divorce lawyer but her mother (Neena Gupta) feels that it’s not all worth it unless she gets married. Sakshi is married and is facing tough times. Meera is married and also has a child and she is unhappy as her father has not accepted the union. Kalindi is dating Rishabh Malhotra (Sumeet Vyas) and all is going well in their relationship. But one day Rishabh proposes marriage. Kalindi says yes but she develops cold feet. Her marriage gets planned with much fanfare and it stresses her out. Of course her gang of friends assemble to be with her during the most significant period of her life, while battling their life problems. What happens next forms the rest of the film.
Mehul Suri and Nidhi Mehra’s story is very relatable and raises some important points about marriage, relationship, friendship, broken families etc. But Mehul Suri and Nidhi Mehra’s screenplay fails to do justice to the plot. The script is haywire and hence one doesn’t feel totally involved with the goings on. Also there are far too many subplots in the film and too much is packed in 125 minutes.
Mehul Suri and Nidhi Mehra’s dialogues are peppered with adult talk and abusive language. At places it is very witty and funny but at several places, it looks forced and that it’s added just for the effect. Thankfully most of the dialogues are left intact by the Censor Board.
VEERE DI WEDDING rests on a great idea and interesting characters. But it doesn’t translate into a fully entertaining fare. It’s the direction that plays spoilsport. The execution is very shaky and it hampers the impact. The introduction of the characters is nice and the marriage prep sequence is the most relatable. Post interval, the Thailand sequence stands out. The climax should have been a highpoint but sadly that doesn’t happen.
Shashanka Ghosh’s direction is the biggest culprit. The film just gives an overview and never allows viewers to delve into the lives of the Veeres. Also some shocking developments take place in the film like Rishabh’s father (Manoj Pahwa) getting arrested. But it’s not executed in the desired manner.
The songs are well woven in the narrative. Shockingly, the film’s biggest chartbuster ‘Tareefan’ is missing. ‘Pappi Le Loon‘, ‘Bhangra Ta Sajda’, ‘Laaj Sharam‘ and ‘Aa Jao Na‘ are all relegated to the background. ‘Dagmag Dagmag‘ is played during the opening credits while ‘Veere’ makes the most impact. Arijit Dutta’s background score is quite good.
Sudhakar Reddy Yakkanti’s cinematography is bad. There are too many close ups which take away the charm from many scenes. Shweta Venkat Mathew’s editing is razor sharp. Priya Ahluwalia’s production design is rich. Rhea Kapoor, Abu Jani – Sandeep Khosla’s costumes are quite bold and appealing.
On the whole VEERE DI WEDDING has a bold theme that defies stereotypes and delivers a shock value. At the box office, the multiplex audience and the youth [especially female] will patronize the film in a big way. Watch it for all the fun and madness created by the four leading ladies.