This week witnessed the release of Baadshaho and Shubh Mangal Savdhan. The two films appeal to two different set of audiences and in reality, there doesn’t seem to be any clash between them whatsoever. While Baadshaho rides on a commendable star cast comprising of Ajay Devgn, Emraan Hashmi, Illeana D’Cruz, Vidyut Jamwal, Esha Gupta and Sanjay Mishra, Shubh Mangal Savdhan marks the reunion of Ayushmann Khurrana and Bhumi Pednekar after Dum Laga Ke Haisha.
Having watched both the films, we present to you their analysis:
Milan Luthria has placed the heist film against the backdrop of the 1975 emergency in India. The screenplay of the film has ample plot twists and the director manages to surprise you with the gripping narration. Everything is goes smooth till the climax, which comes as abrupt and out of place. In fact, it even dilutes the impact of the film to a considerable extent.
The dialogues are worthy of whistles and will work wonders with the single screen audience. Both Emraan Hashmi and Ajay Devgn slip into the character with ease and bring a lot of credibility to their roles while mouthing the memorable one-liners written by Rajat Arora.
From the Box Office point of view, the film is a ‘Paisa Vasool Entertainer’ and should do wonders at the mass dominated circuits like Rajasthan, Uttar Pradesh, Gujarat, Hyderabad, Punjab to name a few, however, the performance at the multiplexes is expected to be just about decent. The pan India rights were sold for Rs 42 crore and given the content, the distributor should recover their investment easily.
Shubh Mangal Savdhan:
The USP, as well as drawback of Shubh Mangal Savdhan, is the fact that it is a concept film. While the entire premise looks fresh and entertaining in the first half, things take a down slide post interval. The screenplay gets repetitive post interval as, given the concept, the director doesn’t get a lot to explore. The second half of Shubh Mangal Savdhan doesn’t prove to be a disaster due to the believable performances by Ayushmann Khurrana and Bhumi Pednekar.
To the director’s credit, the film does not go into the vulgar zone even once and the problem of erectile dysfunction is depicted with humour and wit, just as in the case of Vicky Donor.
From Box Office point of view, just like Bareily Ki Barfi, even this film has the potential to collect a decent amount of cash, which would put everyone associated in the safe zone. The multiplexes would be the key contributors and despite the slow start, the biz should escalate on Saturday and Sunday.
Today has proven to be a good Friday forthe industry as both films have the potential to strike the right chord with its target audience.