In a cinematic landscape that continuously evolves to reflect the myriad of societal changes, “Vicky Vidya Ka Woh Wala Video” aims to capture the pulpy humor of India’s 1990s transition into economic liberalization. Directed by Raaj Shaandilyaa, who is known for his foundation in low-brow comedic content for television, the film delves into the creation of quirky characters in semi-urban settings. These characters offer a window into the societal milieu where traditional values clash with burgeoning modernism. Despite this potential, the film’s screenplay struggles to unify its comedic sketches into a cohesive narrative, resulting in an experience that feels somewhat lackluster.
From the outset, the film makes a conscious effort to shed light on a profession rarely showcased in Indian cinema – that of a male mehendi artist. Vicky, played by the ever-versatile Rajkummar Rao, is this understated neighborhood fixture in the charming town of Rishikesh, during its days as part of Uttar Pradesh. His counterpart in the film is Vidya, portrayed by Triptii Dimri, a doctor whose career seems significantly higher up in the social and professional hierarchy. This mismatched pair ties the knot, setting the stage for a storyline ripe with opportunities for humor, exploration of social dynamics, and more.
The plot thickens as the couple, in a moment of spontaneous ambition or perhaps influenced by modern-day digital compulsions, decide to record their first night together. This intimate video, however, gets ensnared in a burglary, sparking a series of comedic entanglements. Enter Vijay Raaz, embodying a police officer whose amusing affliction with hemorrhoids provides plenty of slapstick value. Vicky’s sister, Chanda, brought to life by Mallika Sherawat, adds an additional layer of chaos and comedic fervor, visiting from Bombay with a penchant for unearthing mysteries. Notably, Mallika’s performance marks her return to the comic spotlight, effectively attempting a reinvigoration of her screen persona. The initiative to lend Vijay Raaz an exaggerated wig is moot, given his natural talent for humor.
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Rajkummar Rao, reprising a role under the name Vicky, much like his character in the successful “Stree” franchise, again delivers an authentic performance. His charm as the clever-yet-innocent neighborhood boy is effortless, making him the cornerstone of this narrative. Conversely, Triptii Dimri’s portrayal leaves room for growth in emulating comedic expressions with more nuance and timing.
The film’s comedic universe is underscored by a nostalgic nod to the 1990s, imbued with the charisma of Rakesh Bedi, Tiku Talsania, and Archana Puran Singh. The era’s soul is further enlivened by a soundtrack that features the mellifluous voices of Kumar Sanu, Alka Yagnik, and Daler Mehndi. While these elements collectively suggest a delightful comedic escapade, the film’s trajectory veers off course as Shaandilyaa seems to dilute the storyline into a series of standalone jokes. The humor, driven primarily by linguistic playfulness, often compromises the deeper emotional narrative at its core.
In his zeal to incorporate multifaceted themes such as horror comedy, the chaos of a bustling bazaar, and social messages, Shaandilyaa’s execution results in scenarios that are often formulaic and lack depth. Some witticisms miss their mark, while certain racial jests feel out of place, inadvertently deflating the humor and coherence of the script. Disconnected narrative threads further burden the viewer, leaving emotional resonance and storytelling integrity hanging by a thread.
Ultimately, the film falls prey to its tendency to overshoot in the comedy department. The forced attempt to hit the comedic jackpot frequently undermines its potential, leaving “Vicky Vidya Ka Woh Wala Video” with little more than a memorable title and a fleeting presence. While the theaters may be hosting it now, the film’s enduring impact is questionable, echoing the sentiment of a long title shadowed by a short shelf life.
