|| Pati Patni Aur Woh - Reviews & Box Office || - Page 3

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This will do 80-90 cr and be a success I think (might lose some revenue due to clash).

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Pati Patni Aur Woh Movie Review: Fun, But Too Lightweight And Low IQ To Carry Complex Ideas

Writer-director Mudassar Aziz attempts to deliver a remake that is lively, funny and at least superficially, progressive – he doesn’t always succeed but there is fun to be had here.

DECEMBER 06, 2019 -BY ANUPAMA CHOPRA

Director: Mudassar Aziz
Cast: Kartik Aaryan, Bhumi Pednekar, Ananya Pandey

Pati Patni Aur Woh is a 1978 film about a married man who has an affair with his secretary. When she first walks into his office, he stares at her breasts and imagines undressing her. He also says: Aap jawaan hain, khubsoorat hain, aapki figure acchi hain. In other words, this is the exact film that you don’t want to remake for our post Me Too times. And yet, writer-director Mudassar Aziz attempts to deliver a remake that is lively, funny and at least superficially, progressive – he doesn’t always succeed but there is fun to be had here.

The original film’s stance was that Ranjeet Chaddha has an affair because boys will be boys. Men just aren’t designed for monogamy. In one scene, Ranjeet tells his friend – Aurat ek waqt mein ek hi ko pyaar kar sakti hai aur aadmi naam ka janvar hai na? Uska dil itna bada hota hai ki woh ek waqt main kaayion ko baant sakta hai. But Mudassar, who wrote the film, and Jasmeet K. Reen, who is credited with adapting it from the 1978 film, want to do better than this. So they create circumstances that lead to PWD engineer Chintu Tyagi’s detour from his marriage. Chintu is a pliable, tame, middle-class boy whose father – whom he calls Hitler Tyagi – controls him. This is in sharp contrast to his wife Vedika. In their first meeting, she speaks frankly about her ex-boyfriend, sex life and declares: Bas thoda high maintenance hain hum emotionally. She’s a woman who charts her own path. In a cleverly done sequence, we get a sense of how their marriage is progressing through Chintu’s downgrading lunchboxes – from elaborate meals, it goes to sandwiches and biscuits because Vedika is busy with her job. Over three years, a humdrum domesticity sets in. Enter Tapasya who with her big-city style and wind-blown hair, embodies the excitement that Chintu’s life needs. Critically, she is not his secretary. She’s a designer from Delhi and as he says, out of his league. After a lifetime of being the dutiful son and husband, he decides to take some risks. He lies to Tapasya about Vedika having an affair and kicks off a comedy of errors.

The story shuttles between Lucknow, Kanpur and Delhi. We are in the same small-town territory that actors like Ayushmann Khurranna and Rajkummar Rao have successfully made into a genre. We get the local sights and sounds – bazaars, malls, homes with open courtyards and that specific Hindi – in one scene Vedika says: Humare pati charitraheen ho gaye hain. In between the laughs, Mudassar attempts to weave in insights on marriage and relationships. Towards the end, we even get some preaching about why men should be faithful to their wives. But the story is too lightweight and low IQ to carry complex ideas about men and women and what sustains or erodes a bond. For that, go to Noah Baumbach’s Marriage Story. Pati Patni Aur Woh works like a sitcom with sparkling dialogue and amusing characters. Aparshakti Khurana, who has cornered the market on the buddy role, is terrific as Chintu’s loyal friend. In one scene, he solemnly tells him – Yeh Agneepath hai bro. And watch out for Shubham Kumar as Vedika’s admirer Rakesh Yadav. I think the swaggering lovelorn Rakesh deserves at least his own short film.

But it’s Bhumi Pednekar’s spirited Vedika who lifts the material up a notch. Bhumi has an intelligence that rescues some of the silliest scenes in this film, especially in the climax. At one point, she forcefully says: Zamana kultaon ka hai. I fully agree.

Kartik Aaryan, in thick moustache and staid checked shirts, enthusiastically commits to being a personality-free pendu. Chintu is a bit of a dullard. The women are so much more dynamic, ambitious and mature that you have to wonder why they are so invested in him. Ananya Panday is asked to play a fantasy and she manages that efficiently. But it’s Bhumi Pednekar’s spirited Vedika who lifts the material up a notch. Bhumi has an intelligence that rescues some of the silliest scenes in this film, especially in the climax. At one point, she forcefully says: Zamana kultaon ka hai. I fully agree. Sunny Singh also makes the most of his brief role as the local bad boy named Doga.

In life, a woman like Vedika would probably have dumped Chintu for Doga. Now that’s a sequel worth considering.

Kartik won the opening clash.

Panipat Poor Start - Pati Patni Aur Woh Good Start

Friday 06 December 2019 13.30 IST Box Office India Trade Network

There were two major releases this week and it was a mixed day as Panipat started poorly and Pati Patni aur woh had a good start. Panipat opened to a 8-10% response which bad for a costly film like this. The films about Marathas tend to have appeal limited to Maharashtra though there is an exception like Bajirao Mastani but even here it was a generally a Maharashtra blockbuster with Xmas holidays and the the not so good response to the Shahrukh Khan starrer Dilwale (released on the same day) taking it through i some of the other circuits.

The problem here for Panipat will be the same that the chances are mainly in Maharashtra and although this area has a big contribution to the total box office of Hindi films it cannot do the job alone. The film will need a huge turnaround on Saturday which will not be easy as this genre has to open better to survive.

Pati Patni Aur Woh had a good opening of 20-25% and the opening is a little better than Luka Chuppi which was the last release of Karthik Aryan. The film is a remake of the 1978 Sanjeev Kumar film Pati Patni Aur Woh which was mainly a Mumbai circuit HIT but that was more than good enough for that film as it was a small film.

This film can be more universal than the original film and can do well in North and Central as well and in fact these circuits could even be leading for the film. These upcoming actors like Karthik aryan, Ayushmann Khurana or Vicky Kaushal have never taken a double digit opening till date and that is the target for these actors.

This film has an outside chance to get there but it really depends on the evening growth and if there is a boost then it may be the first film for the younger lot to hit 10 crore nett but films that open well dont get a huge boost in the evening as compared to films that dont open well.

Review by Komal Nahta

‘PATI PATNI AUR WOH’ | 6 December, 2019 Film Information

22 mins ago

T-Series and B.R. Studios’ Pati Patni Aur Woh (UA) is a comedy about a husband, his wife and his beloved. It is inspired by the 1978 film of the same name, starring Sanjeev Kumar, Vidya Sinha and Ranjeeta, and directed by B.R. Chopra.

Abhinav Tyagi alias Chintu Tyagi (Kartik Aryan) is a simpleton engineer who lives in Kanpur with his parents and works in the Public Works Department. He had had just one affair, with a girl named Neha, but it had ended in a breakup which he can’t get over. Anyway, his parents get him married to Vedika Tripathi (Bhumi Pednekar) who is a smart woman from the nearby Lucknow. Vedika also has had a breakup with Doga (Sunny Singh). After marriage, she works as a school teacher. Being ambitious and fond of the good life, Vedika is after Abhinav to shift to Delhi because it’s a big city where opportunities are infinite. Abhinav’s bosom pal is Fahim Rizvi (Aparshakti Khurana) who also works in the PWD.

Their happy married life goes for a toss when Tapasya (Ananya Panday) enters Abhinav’s life one day. Slowly but surely, the bored-with-life Abhinav gets attracted to Tapasya. She, too, falls in love with him but there’s a reason why she starts loving him. In fact, in her case, it is her sympathy which turns into love. All hell breaks loose when Vedika gets to know about the presence of Tapasya in Abhinav’s life. What happens thereafter? How does Vedika respond? Does she confront her husband? Does she walk out on him? Does she divorce Abhinav? Or does Abhinav divorce Vedika? Do Abhinav and Tapasya live happily ever after? Or do the three of them live like a cozy threesome?

The film is inspired by the 1978 film of the same name, the story of which is adapted by Jasmeet K. Reen. It’s a very engaging story, especially because it has very contemporary and believable characters. Since the entire story is comical, the entertainment quotient in it is extremely high. The screenplay, penned by Mudassar Aziz, is outstanding. Every scene is well-thought of and is so extraordinarily written that the film becomes a virtual laugh riot. Comedy is the common thread which binds the scenes together. Unlike many other comedy films, this one moves in a logical fashion albeit with cinematic liberties. It would be too unwieldy to list down all the highlight scenes and sequences due to logistical reasons because there are just too many of them. However, special mention must be made of at least one scene in the first half and one more in the second half. The interval scene, with background music reaching a crescendo, is so fantastic that it will bring the entire house down with laughter. Because of the loud background music on the screen and the laughter in the cinema hall, it may be difficult to hear the dialogues in the scene but the sheer visual appeal and the editing (inter-cuts) are enough to have the audience laughing like crazy. There’s a sequence in the post-interval portion, in which the families of Abhinav Tyagi and Vedika Tripathi get involved in their personal drama. That sequence is so outstanding that it will elicit loud laughter and even claps in sheer delight. There are a number of other scenes and sequences in which the viewers will guffaw. The climax is terrific and will come as a surprise to most of the viewers. In fact, it shouldn’t be a surprise if the first part of the climax, in which the revelation starts, finds the audience clapping gleefully just because they couldn’t have imagined that that was what was in store for them.

If Mudassar Aziz’s screenplay is outstanding, his dialogues are even better. The dialogues are so full of punches that they add to the entertainment quotient and how!

Kartik Aryan is simply wonderful as Abhinav Tyagi. His sense of timing, the innocence of his character juxtaposed with his street-smartness, his body language, his poker face are all tools which he uses so splendidly to deliver what turns out to be a performance which can be used as a textbook by new actors. Bhumi Pednekar is mind-blowing in the role of the glamorous Vedika Tripathi. She performs with such confidence that it’s delightful to watch her on the screen. With this film, Bhumi Pednekar proves that she is one of the best female performers we have. In pure commercial terms, this film will take Bhumi’s marketability several notches higher. Ananya Pandey comes like a fresh ray of sunshine. She looks supremely pretty and will have the youngsters eating out of her palm. Her acting is superb. This girl has a bright, very bright future ahead of her because she has both, the looks and the talent. One word about the two heroines here. The contrast between the characterisations of the two leading ladies is exactly what was needed in a script of this kind. Aparshakti Khurana is an actor who never ceases to surprise. In this film, he has a very meaty and lengthy role and he delivers in such an extraordinary fashion that the audience watches his acting open-mouthed. In short, he has outdone himself, outshone himself. Neeraj Sood is first-rate as Vedika’s uncle. Shubham Kumar will win plaudits for his absolutely no-holds-barred performance as Rakesh Yadav. K.K. Raina lives his role as Abhinav’s strict father. Navni Parihar is lovely as Abhinav’s mother. Rajesh Sharma makes his presence felt in the role of Vedika’s father. As her mother, Geeta Agrawal leaves a fine mark. Manurishi Chadha has his wonderful moments as the police officer. Sunny Singh provides extraordinary support in a special appearance as Doga. Kriti Sanon adds star value and glamour in the special appearance role of Neha Khanna. Abhishek Singh (as Fahim’s colleague), Priti Shukla (as the receptionist at Doga’s shop), Omprakash Shrivastava (as the overcharging autorickshaw driver), master Naitik (as the kid at the swimming pool), Durgesh Chauhan (as Shambhu), Ashok Lal (as the salesman) and the others lend tremendous support.

Mudassar Aziz’s direction is terrific. His narrative style is of the kind which will have people of all age groups enjoy the drama. Of course, the film would appeal more to the youngsters but it must be added that Mudassar Aziz caters to all age groups and he is in complete command. Not only has he penned a fantastic screenplay and terrific dialogues but he has also excelled in direction. Music (Tanishk Bagchi, Rochak Kohli, Sachet-Parampara, Tony Kakkar and Lijo George-DJ Chetas) is appealing. The remixed song (‘Ankhiyon se goli maare’) is the best, of course. Lyrics (Kumaar, Tanishk Bagchi, Navi Ferozpurwala, Tony Kakkar, Mellow D and Shabbir Ahmed) go well with the mood of the film. Song picturisations (by Raju Khan, Vijay Ganguly, Bosco-Caesar and Farah Khan) are engaging. Picturisations of the ‘Ankhiyon se goli maare’ song (Farah Khan) and the ‘Dheeme dheeme’ song (Bosco-Caesar) are the best. John Stewart Eduri’s background music deserves the highest praise as it complements the drama just too wonderfully. Cinematography (by Chirantan Das) is remarkable. Aamar Shetty’s action and chase sequences are in synch with the feel of the film. Tariq Umar Khan’s production designing is splendid. Ninad Khanolkar’s editing is super-sharp. His performance as an editor deserves a lot of praise.

On the whole, Pati Patni Aur Woh is a super-hit fare. It has tremendous entertainment value and is a veritable laugh riot. The youngsters will take to the film like fish takes to water and they will even repeat the film. In short, the film will be unstoppable at the box-office.

Released on 6-12-’19 at Regal (daily 2 shows) and other cinemas of Bombay thru AA Films. Publicity: excellent. Opening: superb (mostly in multiplexes and good single-screen cinemas). …….Also released all over. Opening was excellent everywhere.

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