While there has been a dearth of comedies in recent times, which are clearly driven towards event films and action extravaganzas, what is even more striking is the lack of female actors with good comic roles in these few comedies. Which is why it’s particularly heartbreaking to see Sadia Khateeb being underutilised in Daadi Ki Shaadi. There is an endearing, goofy energy to Sadia; she has the uninhibited spirit that a good comic performance asks for. Unfortunately, that spirit gets little space in this tiring comedy-drama that neither makes you laugh nor keeps you glued to the drama. 

Directed by Ashish R Mohan, Daadi Ki Shaadi tells the story of Vimla (Neetu Kapoor), a septuagenarian living a quiet life in Shimla. She is surprised to find her estranged family at her doorstep after news breaks of her decision to remarry. It bothers them because Vimla’s decision has brought the wedding plans of their daughter Kannu (Sadia) to a standstill. It turns out to be a misunderstanding, but Vimla continues the ruse, merely to spend more time with her family. However, Vimla and her family are soon compelled to address their dysfunctional ties, and resolve them one way or another. 

Cast: Kapil Sharma, Sadia Khateeb, Neetu Kapoor, Riddhima Kapoor Sahni, Sarathkumar, Deepak Dutta, Jitendra Hooda

Directed by: Ashish R Mohan

Rating: 1.5

Daadi Ki Shaadi had a great chance to say something progressive, to explore themes that are often touched upon but never embraced. Sadly, under its guise of a comedy, the film wearily carries the soul of a Baghban. The problem is how the film continues to harbour these aspirations to be an emotional drama without having any acumen for it.  As a viewer, you have no conundrum — the writers here are too keen on painting the story with black-and-white binaries. Vimla is a lonely, self-sacrificial mother figure, while all her children now lead their lives with their own families, away from her. You are, then, too overwhelmed with the sermonising to invest yourself in their choices or the outcome. The half-baked sentimentality extends to other characters as well. When Tony makes an emotional phone call to his domineering father (Yograj Singh) to confess his lie, it leaves you cold — we don’t know anything about their relationship to be moved here.  

There is not much energy in the filmmaking either. The storytelling is dry as a bone. As the Ahuja family jumps from one melodramatic confrontation to another, the film remains bereft of any tonal consistency. The jokes don’t land, and the moments built on emotions don’t ring true. The makers eventually try to overcompensate with an overdose of punchlines and eclectic background score choices. Every scene is underlined with a loud music piece that screams ‘quirky’ (The use of Spanish guitar and free-flowing jazz in many sequences is particularly puzzling). There’s no doubt about a wholehearted intent to play to the gallery here — except the gallery here is empty. 

In one of the rare pleasant moments of the film, we see Vimla calmly get ready to go out for a calm, relaxing walk. Shimla is quiet and serene, and Vimla, we realise, largely lives an independent life devoid of any expectations, supported by her close friends who stand by her, bringing joy to her life otherwise filled with solitude. The friends (one of them funnily named Shakti Kapoor, while others are simply called by their second names) are colourful on their own as well, and we realise this is the story we would rather follow — a story of four women who are simply living their life, growing old together — sadly, Daadi Ki Shaadi is not interested in them. 

Kapil Sharma’s presence is another bewildering addition. While a protagonist on paper, Kapil’s Tony Kalra is strangely ineffective in this melange. The actor, known for his quick wit and deadpan delivery, can be seen struggling here to make his presence felt in a narrative that doesn’t treat him like a star, amidst an ensemble that’s more sincere than him. Among other performers, Deepak Dutta and Jitendra Hooda do their best in underwritten roles that give them a few moments to shine. 

It’s equally awkward to see Tony (Kapil) and Kannu (Sadia)’s ‘love’ track walk along parallel to the Baghban-themed central conflict. Staying true to another cliche, Kannu professes her love to Tony in the climactic segment, while being understandably annoyed and indifferent toward him for the entire narrative. Earlier, we are told Kannu doesn’t want to get married at all, but instead dreams of starting a new life in New Zealand. It makes sense — there is a childlike quality to Kannu, where she feels like a misfit in this world of adults fighting ego-centric battles over properties and responsibilities.  She is part of the kids’ gang here, who often find themselves puzzled amidst the mayhem, finding clarity after talking to each other. No wonder she too feels more like herself when in their company. During a crucial moment, Kannu stands by her cousins as they make a tall declaration toward the end. There is an earnestness to these moments that carry the right amount of corny sentimentality without going overboard. 

I wish that Kannu were allowed to be her child-like self more often, that Sadia Khateeb got a meatier role that did justice to her potential, and that I were watching a much better film on an early Friday morning.