Wedding Anniversary- Movie Review
Posted by Vivek on February 26, 2017 | No Comments
FILM – Wedding Anniversary
PRODUCER – Kumar V Mahant, Achut Naik
DIRECTOR – Shekhar S. Jha
WRITER – Shekhar S. Jha and Rashid Iqbal (screen play and dialogue)
CAST – Nana Patekar, Mahie Gill, Priyanshu Chatterjee
MUSIC – Abhishek Ray
There is something in the air that is bringing up therapy films like Dear Zindagi and now Wedding Anniversary these days.
In Shekhar S Jha’s, ‘Wedding Anniversary’, Kahani (Mahi Gill) is a dreamy lass on the cusp of celebrating her first wedding anniversary. She arrives in Goa and awaits her husband’s arrival which is delayed due to work reasons. She throws a fit, falls asleep while reading a book and dreams up an authorial counsellor who sets her life right in a few Oprah+Deepak Chopra moments much like Jehangir Khan did for Kyra in DZ on the couch. She wakes up and falls in her just arrived husband’s arms madly in love once again.
There is so much foppery, shallowness and self importance in the film that it is a little difficult to take seriously even Nana Patekar’s quirkily mouthed poetry or pixie-like antics or his presence which otherwise does tend to lend a gravity and eccentricity to his surroundings. Unfortunately, he appears as shallow and pointless as everything else. He takes her through the city to make her see the world with new eyes. But this new eyes is a perspective drawn within too and the film takes its preachy and saviour-like tone as Kahani is led to recognise the so-called deep-seated truths of self and self-realisation. It is all trudgingly tedious.
There are numerous strands of love and relationships the film explores in its episodic narrative, strands that range from adultery to ownership to values to needs to the mythical idea of love. All of which just end up seeming more pretentious than intended in the skittishly performed, written and directed film.
The film also unapologetically misuses its leads reducing Mahi Gill into a cardboard cutout and Nana Patekar into a half-heartedly whimsical mystery man, an illusion but bearer of good times. No one would like to remember his turn as one in this as much as one doesn’t want to forget him in a similar space in Thodasa Roomani Ho Jaaye and mind you, this is not remotely comparing the two films.
Capre diem themed films have been as old as Santa’s shoes but the counsellor motif is a new fad. A few more such films and the entire concept of therapy and self-help itself may die a complete death before its seekers do of depression and angst.