Pati Patni Aur Woh

 Cast: Karthik Aryan, Bhumi Pednekar, Ananya Pandey
Director: Mudassar Aziz

Kartik Aryan, Bhumi Pednekar and Ananya Pandey - along with the three lead actors of Mudassar Aziz's 1978 matrimonial comedy Pati Patni Aur Woh - were not born behind and in front of the camera when the originals were produced, produced and directed. BR Chopra was released. They are products of a different era. Therefore, the story of a 2019 middle-class man who comes for his secretary and endangers his marriage does not carry any of the baggage of the past. This is Pati Patni Aur Woh's own animal. This is both an advantage and a disadvantage.

This is an advantage because 41 years later, the Battle of the Sexes - a legitimate theatrical genre in vogue since the Elizabethan era - that once passed muster without being asked, is no longer in the realm of easily acceptable. Placed in the context of demands for political correctness, this form of comedy would be considered insensitive to gender if it was not outright sexist.

It is another matter that Bollywood has often seen the funny side of the troubles that a two-time husband invited for himself and his legally supportive partner. From Hrishikesh Mukherjee's Rang Birangi (1983) to David Dhawan's wife number 1 (1999), Billy Wilder's The Seven-Year It, where Marilyn Monroe was chosen as the female Fatale, giving varying degrees to married men For, all the skeptics were inspired. Away with infidelity on the big screen. But then men in Hindi films get away and start getting very bad - murder and scuffle, quarrels and rivalry. Women have a more difficult time at shorter intervals.

To begin with, Pati Patni and he both ask the wife and the other woman to objectify, but as the comic caper moves forward, the primary impulse allows both women to grab all the aces. They actually do - the film's refusal rests on their admirable ineffectiveness - but the wrong man is still someone who is considered worthy of a pardon so that normalcy can be restored after crossing several lines and trust is broken.

Nayak of Chintu Tyagi (Aryan), Pati Patni and Wo, an engineer of the Public Works Department (PWD) in Kanpur, make a mess of his life after meeting his beautiful and wanted wife Vedika (Pednekar) and one of Delhi. Running away with a girl Tapasya (Pandey), who comes to her office for the allocation of a plot for the proposed leather and clothing boutique.

The small city-big city divide is the major cause of discord between Chintu and Vedika. The former is happy in Kanpur, the latter is keen that the couple relocates to Delhi and seek a more exciting life. It is not that Vedika's existence is dull. Nor is it Kanpur. She is a woman who knows her mind and has chosen Gauche Chintu as her life partner because she has quite a rebellious task.

You know that the world has moved on and the pace of life has grown very fast when a couple does not have to wait for seven years when Chintu and Vedika get married for only three years when monotony and boredom start. is. Apart. While the woman has a teenage fan - Rakesh Yadav (Shubham Kumar) - in a physics class that he teaches at a local college, the husband seeks excitement outside the boundaries of his marriage.

Her students are enamored with Vedika because they think she looks like a movie star. She asks: Which movie star? Kareena Kapoor, the boy answers. In a small town, she cannot be kept: she is the 'ban' she presents herself by turning her into a 'rebellion' of marrying her longtime lover Doga (Sunny Singh), a man we have previously After much water, we see the bridge washed away.

The health with which Chintu turned his austerity into an austere office. He starts enjoying his company and helps with his friend and co-worker Faheem (Aparshakti Khurana), he becomes the girl's regular chaperon his quest for the city. To earn the austerity sympathy, Chintu lies to him that his wife is related to him. One lie leads to another and the protagonist is trapped in a tangle.

Starring Sanjeev Kumar-Vidya Sinha-Ranjita as in 1978, the blossoming relationship between Chintu and Taapsee is firmly rooted in being platonic. It is his guilt that drives Chintu to do everything in his power to resort to lies and slander and keep the truth from his unworthy wife.

When Vedika stumbles upon what is going on behind her back, she is quite shocked. But she does not mop. He goes out of wedlock, leaving Chintu to repentance to his misdemeanors. The last half hour of Pati Patni and Woh, dedicated to the person who learns the hard way that love is more than just skin deep, is a drag. In the first half-hour, there is no great shake-up of the stage.

A part of the middle is funny as Chintu and Faheem devise ways to protect their husbands from harm. But the two women in the protagonist's life whose paths cross for the first time when the two descend into the PWD building with the intention of having lunch with that boy are never in danger of losing theirs.

The actors give the film all they have. Karthik Aryan is quick to hit his stripes, Bhumi Pednekar draws sultry sirens as effortlessly as she does a stay-at-home personality, and Ananya Pandey is perfectly cast as a wide-eyed girl Is the one who bites the hero with his feet. But holds its own land. Aparshakti Khurana as a fast-talking Faheem serves as the perfect foil for the adulterous hero.

This story by Pati Patni and Voh expresses two truths: one, the fictional heroines of Bollywood have evolved much faster than their male counterparts, and two, the film comedy that churns these days in Mumbai, which earlier There is no patch on the industry produced in decades. Nevertheless, it is a passive substitute for the real thing, which was lively and vizier yet.