Direction: Shashanka Ghosh
Production: Balaji Telefilms, Anil Kapoor Film & Communication Network, Saffron Broadcast & Media
Cast: Kareena Kapoor Khan, Sonam Kapoor, Swara Bhaskar, Shikha Talsania, Sumeet Vyas, Neena Gupta, Manoj Pahwa, Ayesha Raza Mishra
Story & Screenplay: Mehul Suri, Nidhi Mehra
Cinematography: Sudhakar Reddy Yakkanti
Editing: Shweta Venkat Mathew
Music: Shashwat Sachdev, Vishal Mishra, Qaran White Noise Language: Hindi / Drama, Comedy / 125 mins / India / 2018
Masturbation can lead your husband to blackmail you because he has seen you at the job, believes this is cheating and thinks its reason enough to demand crores! And your thought is – ‘It’s not exactly like I am having an affair but… yeah, ok’! So you – the educated, emancipated and empowered woman of 21st century gamely cow down and believe that you are guilty too? And so you will allow that blackmail to continue. You, who belong to the upper strata of ultra chic Delhi society; drive a super-luxurious sedan, live in a farmhouse, wear clothes which reveal more than hide; you - who freely uses cuss words, smoke, drink and are the ‘epitome’ of all that a liberal, advanced girl is supposed to be in today’s ‘urban, Indian society’ wants your audience to believe the same? I mean, really? You want your audiences to buy that? Is masturbation really that big a deal? Gimme a break - Please.
As for you dear reader - you can pick your jaw up from the floor, read the above paragraph again and it won’t change. In this day and age, dialogue and screenplay writers Mehul Suri and Nidhi Mehra of the much publicized Veere di Wedding want you to believe something as banal as this! And director Shashanka Ghosh – of forgettable flicks like Waisa Bhi Hota Hai II and Quick Gun Murugan not only endorses but also executes this idea onscreen rather poorly. And this my dear reader, is just one of the issues with Veere di Wedding but this one instance (more than any other) serves to highlight just how much of a contrast there is between the ‘outer’ and ‘inner’ selves of the lead characters, and the reason why despite being a brave attempt Veere di Wedding falls flat. Completely. Inexorably.
The supposedly coming of age story about four friends is really a film that could have been dealt with more finesse. Instead, it is reduced to promoting the idea of emancipated girls who have all the ‘trappings of empowered women’ overtly but are tied down because of insecurities, circumstances, stereotypical parents and in-laws and beyond-their-control situations. Emancipation in this case, has nothing to do with being educated, intelligent or even financially independent. Barring Sonam Kapoor who has pretences of being a lawyer – none of others do anything for a livelihood. They all come from elite backgrounds (the art direction department certainly works hard at creating that backdrop) and have had great education but have nothing to show for it. Except cuss words, skimpy clothes and obsession with sexuality and who hasn’t been screwed and since when! Is that all there is to liberalism and education?
To top it all Kareena is referred to as ‘Veere’ or Punjabi for Bro (short for brother). What’s wrong in that, you ask? Are the makers sending out a subliminal message that she an