back

Super Nani: A Film With A Flawed Script Suitable For Indian Telly

Considering that youth is more allured to watch films and often hangout in and around theatres, this film is definitely not the one that will attract the young ones. Touted to be Rekha’s comeback feature film, Super Nani, spells the life of Bharitya Naaris.

The glam doll of her times is seen in the garb of a housewife, a devout housewife, if we may add. Her home is her religion and her husband is her god, no matter how ruthlessly venomous he is towards her. She is naïve, loving and kind and also the one who is always ignored and trashed by her family. Neither her daughter, nor her son show any respect or love towards her, let alone her daughter-in-law. But this is a film and things are deemed to have a happy ending and it is prerequisite to have miracles. And, Mann, is the miracle in the life of Bhatia family. He is the one who will change their outlook and also be responsible for Bharti’s makeover.

Speaking of the story, the film is closer to be a typical 80’s films which were often high on morals, values and traditions. We have seen Jaisi Karni Waisi Bharni starring Govinda or even Avtaar Of Rajesh Khanna. Super Nani film resembles its predecessors. It is based on a popular Gujarati play “Baa Aae Mari Boundary” but it cannot be said to be a fabulous depiction of the play. It is a film which is more likely to mint money when played on prime time slot on small screen. We say so because it has rona-dhona galore. It can even pass as a movie produced by Ekta Kapoor for it highlights the plight of a housewife who is always neglected and cussed for performing her duties fairly.

Coming to the performances, while most of them are loud, Rekha is the only one who has the zest for her character. Sharman Joshi (Mann) has that fake American accent with pseudo roll of the tongue and gender identity crisis heard in each Hindi sentence that he flings at the viewers. While this may be to add a humorous touch to the film, it only takes away the likeability factor of the film because it is highly possible that an NRI can have an appropriate accent or not have it at all.  However, the filmmakers overlook this factor.

Over all the film is overtly melodramatic with unnecessary songs and dance sequences, and an unrequisite love story running parallel to the film’s main story. If this story was a subplot than it did not match the main plot and was a complete distraction for the viewers.

It has been Rekha’s forte to flawlessly deliver women centric roles (remember, Khoon Bhari Maang and Biwi Ho To Aisi?). She does exactly that in this film as well. She acts meek initially and later, fills the screen with her brawny performance. It is therefore that we rate this film with one star despite its flawed script.

This one is likely to do well if premiered on Telly. 

kingfisher backstage