Though Nidhi Mehra and Mehul Suri have written an interesting plot, the highlight of their endeavour seems to be the freedom with which their women leads use cusswords, knock back stiff drinks and generally thumb their collective nose at traditions and customs. Their impertinence would have meant more if these seemingly intelligent, educated and privileged women asked deeper questions — such as the relevance of the institution of marriage itself — but this attempt remains half-hearted. For instance, Bhasker’s character as the irreverent Sakshi never goes beyond an obnoxious profanity, especially since there is no explanation for her bratty behaviour other than a spoilt upbringing.
For a film that made waves even before its shoot began — Khan’s pregnancy put a halt to the filming — which was then followed by a clever social media marketing strategy, Veere Di Wedding is a disappointment. The punch lines, as is the norm with most films today, are largely revealed in the trailer and there isn’t enough meat in the script to last the length of the film. The background score is catchy, particularly because of the familiarity engendered by promotional videos, but it tends to create more din than anything else.
Veere Di Wedding loses steam simply because it is a confused plot, trying to handle too much at once and not giving any single plot angle the focus it deserves. Rife with stereotypes about Bengali women and West Delhi folks, the humour is slapstick. But one can’t say it is entirely boring. The film has its moments and the drama behind Kalindi and Rishabh’s wedding is as real as it gets, at least in Delhi.
Ahuja and Khan are the big-ticket “superstars” for whom the filmmakers saved the spotlight, but Talsania, Bhasker and Vyas stand out as the real stars with understated performances. Vyas, in particular, has a charming screen persona that gels well with the muted character Khan plays.
Rhea Kapoor went to great lengths to declare that Bridesmaids crossover, the film ends up being exactly that — a rom-com chick flick with the twist of potty-mouthed, sexually licentious characters. If you’re watching this film, expect no more than the self-declared “non-feminism” espoused by Khan and Ahuja’s generation.