Cast: Nawazuddin Siddiqui, Athiya Shetty
Director: Devamitra Biswal
It is desperate stuff and painfully so. The 25-year-old girl is desperate to marry NRI and leave Bhopal behind. A 36-year-old accountant in his hometown, back from Dubai, is desperate to find a wife. The latter's mother is desperate to fulfill her greed for dowry. His younger son is desperate to locate his elder brother. And the unmarried aunt of the heroine is desperate to tell the world that she has rejected all 27 suitors. No desperation rubs off on the screenplay of Motichoor Chakanchur, a strangely odd-couple comedy beyond the slightest glimpse of energy. It is in dire need of a coherent script.
Directed by debutant Debamitra Biswal, Motichoor Chakanchur - don't ask what the title has to do with the thin story - the film is so limited even by Nawazuddin Siddiqui, the half-casted role of the socially awkward small-town man Unhappy at his single position, cannot salvage it. The tall, wide, wide-eyed Athiya Shetty (in her third Bollywood role) is known as a sly girl who serves the big, small man the sole purpose of going to Dubai.
The sublimely unfit film takes much effort to extract the air of mirth from the apparent inconsistencies between the two protagonists. But the offending writing yields a monotonous, pedestrian birthmark that also fails to give a quota of emotion. How challenging can it be to see a mismatched couple in a messy wedding of a facility going from one house to another after being separated for a day due to a misunderstanding? That's when the film ends.
The mismatch relationship between the main actors is more than just physical. Through the film, Siddiqui garnered many accolades; Shetty makes a heavy season of his role. The former looks comfortable to the point of looking distracted; The latter is highly earnest. Like the rest of the cast, they get caught in a mad scramble to keep the rudeness. But like everything that has collided with Willy-Neely in such a listless film, they look completely ruthless.
Motichur Chakanchur is a cross between a 1980s sitcom and a lead-foot drama involving two families - Awasthis and Tyagis - who share a fence in the mid-central Bhopal neighborhood. The girl who wants to fly the coop is Anita "Annie" Awasthi. Pushpinder Tyagi is a man longing for his prevalent virility. As long as the two do not bow to each other on the strength of the circumstances and marry without the permission of their families, all is well. The rest is hysteria.
The most annoying aspect of Motichoor Chakanchur is its uncanny sexuality, even though the film is directed by a woman and one of the leading personalities of the plot is a domineering matriarch (played by the able and pointless Vibar Chibber). The woman reaps grief by repeatedly exposing her grief, even to her older son, whoever is too late, to pledge before anyone is available and with whatever is available Is ready for.
Suhag night after her miscarriage, when neighbors flocked to the courtyard to casually see the character of his new bride, Siddiqui: "Biwi hum laay, manranjan mohale mo re hai (I bring a wife to the house; ) The locality is being entertained). "Rekha is clearly meant to be funny. Some in the audience may also reply with Chakli. However, Siddiqui presents the dialogue in a way that suggests that he is least convinced of the need to do so. This is why it should be. But there is no room for such nuances in the film.
A short time later, during a transformation, the male protagonist slaps his wife. The man goes on unintentionally and the script accuses the woman of shocking the wedding. Her father, who lives next door, sends her back, declaring that she has no right to seek refuge in her ancestral home. The protagonist apologizes to the woman on the first available opportunity, but her expression of remorse is weak and convenient and does nothing to undo the damage.
Motichur Chakanchur is also influenced by signs of racism. The opening scenes reveal the heroine, a future spouse who lives and works in London in hopes of fulfilling her dream. She exits the deal when she realizes that she has no chance of going to the UK with the man. After a few scenes, a Singaporean man turns down the offer of marriage to his family. If she eventually wants to settle for a husband from Sri Lanka, Nepal or Bhutan, she is surprised. To her, her maiden, a spinner of choice, replies: Who knows it could be someone from Uganda, Somalia or Burundi as well.
For a film that has very few entertainment avenues, Motichoor Chakanchur has a long way to go. As if its misconceptions are not enough, it takes the pot for an overweight woman that the protagonist is on the verge of marrying until Lankai Las kicks her out of prison. Girl quote: Why don't you make a chain of elephants in your courtyard? She thinks he made a joke. fat chance!
The romance between the gawky protagonist and the Garuda heroine, who occupy a large part of the first half, is shocking. But this is not the worst part of the film. The film gets worse when the pair struggle to settle into domesticity, with Siddiqui having to splash around to clean up the mess without any support from Boli.
Director: Devamitra Biswal
 |
| Motichoor Chaknachoor Movie Review |
It is desperate stuff and painfully so. The 25-year-old girl is desperate to marry NRI and leave Bhopal behind. A 36-year-old accountant in his hometown, back from Dubai, is desperate to find a wife. The latter's mother is desperate to fulfill her greed for dowry. His younger son is desperate to locate his elder brother. And the unmarried aunt of the heroine is desperate to tell the world that she has rejected all 27 suitors. No desperation rubs off on the screenplay of Motichoor Chakanchur, a strangely odd-couple comedy beyond the slightest glimpse of energy. It is in dire need of a coherent script.
Directed by debutant Debamitra Biswal, Motichoor Chakanchur - don't ask what the title has to do with the thin story - the film is so limited even by Nawazuddin Siddiqui, the half-casted role of the socially awkward small-town man Unhappy at his single position, cannot salvage it. The tall, wide, wide-eyed Athiya Shetty (in her third Bollywood role) is known as a sly girl who serves the big, small man the sole purpose of going to Dubai.
The sublimely unfit film takes much effort to extract the air of mirth from the apparent inconsistencies between the two protagonists. But the offending writing yields a monotonous, pedestrian birthmark that also fails to give a quota of emotion. How challenging can it be to see a mismatched couple in a messy wedding of a facility going from one house to another after being separated for a day due to a misunderstanding? That's when the film ends.
The mismatch relationship between the main actors is more than just physical. Through the film, Siddiqui garnered many accolades; Shetty makes a heavy season of his role. The former looks comfortable to the point of looking distracted; The latter is highly earnest. Like the rest of the cast, they get caught in a mad scramble to keep the rudeness. But like everything that has collided with Willy-Neely in such a listless film, they look completely ruthless.
 |
| Motichoor Chaknachoor Movie Review |
Motichur Chakanchur is a cross between a 1980s sitcom and a lead-foot drama involving two families - Awasthis and Tyagis - who share a fence in the mid-central Bhopal neighborhood. The girl who wants to fly the coop is Anita "Annie" Awasthi. Pushpinder Tyagi is a man longing for his prevalent virility. As long as the two do not bow to each other on the strength of the circumstances and marry without the permission of their families, all is well. The rest is hysteria.
The most annoying aspect of Motichoor Chakanchur is its uncanny sexuality, even though the film is directed by a woman and one of the leading personalities of the plot is a domineering matriarch (played by the able and pointless Vibar Chibber). The woman reaps grief by repeatedly exposing her grief, even to her older son, whoever is too late, to pledge before anyone is available and with whatever is available Is ready for.
Suhag night after her miscarriage, when neighbors flocked to the courtyard to casually see the character of his new bride, Siddiqui: "Biwi hum laay, manranjan mohale mo re hai (I bring a wife to the house; ) The locality is being entertained). "Rekha is clearly meant to be funny. Some in the audience may also reply with Chakli. However, Siddiqui presents the dialogue in a way that suggests that he is least convinced of the need to do so. This is why it should be. But there is no room for such nuances in the film.
A short time later, during a transformation, the male protagonist slaps his wife. The man goes on unintentionally and the script accuses the woman of shocking the wedding. Her father, who lives next door, sends her back, declaring that she has no right to seek refuge in her ancestral home. The protagonist apologizes to the woman on the first available opportunity, but her expression of remorse is weak and convenient and does nothing to undo the damage.
 |
| Motichoor Chaknachoor Movie Review |
Motichur Chakanchur is also influenced by signs of racism. The opening scenes reveal the heroine, a future spouse who lives and works in London in hopes of fulfilling her dream. She exits the deal when she realizes that she has no chance of going to the UK with the man. After a few scenes, a Singaporean man turns down the offer of marriage to his family. If she eventually wants to settle for a husband from Sri Lanka, Nepal or Bhutan, she is surprised. To her, her maiden, a spinner of choice, replies: Who knows it could be someone from Uganda, Somalia or Burundi as well.
For a film that has very few entertainment avenues, Motichoor Chakanchur has a long way to go. As if its misconceptions are not enough, it takes the pot for an overweight woman that the protagonist is on the verge of marrying until Lankai Las kicks her out of prison. Girl quote: Why don't you make a chain of elephants in your courtyard? She thinks he made a joke. fat chance!
The romance between the gawky protagonist and the Garuda heroine, who occupy a large part of the first half, is shocking. But this is not the worst part of the film. The film gets worse when the pair struggle to settle into domesticity, with Siddiqui having to splash around to clean up the mess without any support from Boli.
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