Pati Patni Aur Woh movie review: Kartik Aaryan and Bhumi Pednekar put in credible performances in this funny but problematic film.
Remakes can be a tricky business as comparisons are bound to happen with the original content. Here’s one right at the beginning: I had one problem when I recently watched the original Pati Patni Aur woh (starring Sanjeev Kumar, Ranjeeta and Vidya Sinha). The writers and the director gave us naive women who will believe every word a man says, even agreeing to continue with a relationship despite knowing that the man cheated. Cut to 2019, three decades later, and Mudassar Aziz’s modern take on Pati Patni Aur Woh didn’t rectify that mistake either. The whole premise that a guy can so easily fool his wife and the woman he loves outside his marriage is so troubling.
The film starts with a dashing voiceover by Jimmy Sheirgill who asserts that ‘aisa koi sawal nahi jiska uttar aapko Uttar Pradesh mein na mile’. And then we’re introduced to Abhinav Tyagi aka Chintu (Kartik Aaryan), who works as a government employee in Kanpur’s PWD department. He married Vedika Tripathi (Bhumi Pednekar), a physics teacher from Lucknow, at an early age. Vedika aspires to live in Delhi because modern-day life is more tempting. They get married soon after their first meeting where Vedika makes it clear that she ‘likes sex’, and the two lead ‘happily ever after’ life for three years until Tapasya Singh (Ananya Panday) shifts from Delhi to Kanpur to find a location to set up a workshop for her designer boutique.
hifts from Delhi to Kanpur to find a location to set up a workshop for her designer boutique.
Just when Chintu was looking for ways to spice up his mundane married life, he is assigned the job of helping Tapasya find the plot and, in no time, he gets into a I-don’t-know-how-it-started and I-am-not-even-sure-of-what’s-going-on-between-us relationship with her. Between all this, Chintu’s colleague and best friend, Fahim Rizvi (Aparshakti Khurana) backs his gharwali-baharwali game and saves him each time he is about to get caught red-handed. What ensues next is a series of confusions, complications, white lies and realisations that sound rather illogical.
The film’s tone is sexist, where it is okay to call your best friend’s girlfriend as daayan, chudail and naagin. Call it a comedy of errors and it won’t be wrong because there are plenty of them that look unsettling. I couldn’t help noticing how the film ridiculously switches between Kanpur to Lucknow in a matter of seconds and without even giving the audience a proper reason. Maybe, location consistency is something that makers didn’t pay any attention to.
Talking of comedy, the humour is well-placed but you can’t call it extraordinary. At places where the comic element goes down, the makers have cleverly infused it with witty dialogues and one-liners like ‘No what no why, free free bird blue blue sky’, ‘Vichaar karne se bachhe paida nahi hote’, ‘Ladki dekhte hi how I wonder what you are ho jaate ho’.