Shubh Mangal Zyada Saavdhan

Salesmen Aman Tripathi (Jitendra Kumar) and Kartik Singh (Ayushmann Khurranna) find love in the capital city of Delhi, where they live in oblivion and their relationship grows and blossoms without being frowned upon. However, problems start to crop up when the two decide to go back to Allahabad and convince Aman's orthodox parents for their approval.

Kartik comes out to his 'lohar' father as a teenager and faces the brunt of it head-on, and so the thought of being judged and the idea of being ridiculed does not bother him much. But, his small-towner partner Aman dreads the mere thought of an ugly confrontation with his folks. While Kartik is still hopeful that his passion-filled romance will melt the Tripathais, Aman knows better ⁠— the chance of a collective acceptance is next to impossible!

The opening scene of this romantic comedy manages to squeeze a wide smile out of you, such is the filmy charm of a flamboyant Kartik and his uptight, yet personable, lover Aman. The couple is seen chasing a train to Allahabad, where they are headed for an uphill battle with the latter's family and the society's conventional mentality in general.

Writer-director Hitesh Kewalya's 'Shubh Mangal Zyada Savdhaan' is no straight-talker, instead, it takes time to build up and heighten the drama. And subsequently, madness ensues following a steamy make-out session gone horribly wrong. Aptly, the setting is Allahabad and Aman ⁠— the ladla beta ⁠— is expected to clear the debt of his 'father's sperm for the rest of his life' by marrying an overtly coy Kusum, who is yet another character stitched into the narrative for emphasising on the buried desires of a submissive two-tier city girl — works for that cinematic effect.

The mood and tone is essentially satirical and puny, laced with melodrama that works at times but feels a little too far-fetched on several occasions. Also, since the film is primarily invested in the small-town drama pertaining to the taboo around same-sex relationships, the writer-director fails to tap on the elements exclusive to small cities like Allahabad, and restricts the plotline to one conventional family. While ignoring the enigma of the holy city and all that it has to offer in terms of visual and cinematic experience, the director snatches away the potential of SMZS being a believable watch.

But, Ayushmann Khuranna's depiction of the smooth-talking, with a devil-may-care-less attitude, Kartik is a delight to watch on screen and he more than makes up for the damage. His unabashed ability to love at all times grows on you, and his on-screen characteristic trait of being hilarious at odd, awkward moments is what makes him the right fit for this role. And, walking shoulder to shoulder with the eccentric Kartik, is Jitendra Kumar's demure and docile Aman: if Ayushmann highjacks the film with his infectious energy, a mellow Jitendra balances it out with his poker-faced humour and the relatability factor that he maintains throughout the film; a natural.

It is noteworthy as to how well the supporting cast renders its complete (and able) support to the lead pair. Maanvi Gagroo, as the 27-year-old cousin Goggle desperately waiting for society's stamp of approval in the form of an arranged marriage, is a show-stealer in her own capacity. Gajraj Rao, as the dominating patriarch and a failed scientist, is both serious in his approach when needed, and funny, when the situation demands him to be. Likewise, Neena Gupta, as the fully-invested mother and 'aadhi adhuri' wife, delivers some of the best punch lines and gets the small-town mentality bang on. It's safe to say that the rest of the cast, too, has been handpicked with much thought.

Sure, the story has social relevance and is one that needs to be told ⁠— even if served in the form of a comedy ⁠— but will it start a conversation in two-tier cities about gay love? Perhaps not. Also, the climax is an offshoot of multiple tried-and-tested formulas, and looks like it was conjured up in tearing hurry; all too convenient. While the first half is engaging, the second half loses its sheen pretty early on and could have been trimmed down by a good 20 minutes. Thankfully, the number of songs are less but then again, none of them are hummable.

All in all, 'SMZS' will give small-town parents the much needed nudge, and maybe, in the distant future, they will have the strength to accept their offsprings for who they are. But, for now, watch it for the performances and the 'chaska' of love, with two men pouring their hearts out for the world to see and accept.