I
have
often
observed
on
my
visits
to
the
West
that
people
living
overseas
are
far
more
seeped
in
Indian
ethnic
values,
customs,
festivities
and
rituals,
when
compared
to
a
lot
many
Indians
living
in
Hindustan.
Those
who
live
there
believe
that
by
observing
and
practicing
the
Indian
traditions,
they
would
continue
to
remain
Indian
at
heart.
Most
of
them
also
wish
to
wed
an
Indian
because
they
consider
that
their
respective
spouse
would
bring
along
with
them
time-honored
Indian
values.
For
some
strange
reason,
Hindi
cinema
has
often
projected
an
NRI
youngster
as
a
cool
and
hep
dude,
pretending
to
speak
Hindi
with
an
English
accent.
But
that,
in
my
opinion,
is
merely
a
faÇade.
It's
far
from
real.
Sure,
there
could
be
exceptions,
but
every
NRI
who
arrives
in
India
isn't
wearing
an
Armani
or
Versace.
Neither
is
he
a
die-hard
romantic
like
Raj
or
Rahul.
In
fact,
a
lot
of
NRIs
I
know
are
amused
to
note
that
while
they
held
on
to
the
traditions,
the
ones
in
India
are
more
inclined
towards
the
West.
Yet,
the
East-West
love
story
remains
a
pet
theme
that
continues
to
invade
the
Hindi
screen.
Films
like
Purab
Aur
Paschim,
Dilwale
Dulhania
Le
Jayenge
and
Namastey
London
have
explored
this
topic
most
convincingly.
In
fact,
a
lot
many
people
feel
that
YRF
and
Dharma
have
highlighted
this
aspect
in
various
films,
which
the
diaspora
has
lapped
up
with
glee.
But,
of
late,
films
that
carry
with
them
the
scent
of
the
soil
are
being
attempted
by
our
storytellers.
Tanu
Weds
Manu
too
highlights
this
facet.
The
NRI
in
Tanu
Weds
Manu
is
docile,
unassuming
and
soft-spoken,
has
no
accent
or
attitude,
believes
in
arranged
marriages,
relishes
the
evergreen
songs
of
Mohammed
Rafi,
is
old-fashioned
literally.
The
girl
is
contradictory.
She's
belligerent
and
dominating,
also
smokes,
drinks
and
uses
expletives,
has
had
many
'affairs',
has
her
new
boyfriend's
name
tattooed
on
her
chest,
is
a
straight-forward
and
fearless
babe.
This
is
their
story!
Like
his
directorial
debut
Strangers,
director
Aanand
L
Rai
opts
for
unconventional
and
unpredictable
situations
in
Tanu
Weds
Manu.
Of
course,
the
fact
that
Tanu
and
Manu
would
tie
the
knot
sooner
or
later
is
at
the
back
of
your
mind,
even
before
the
reels
have
begun
to
unfold,
but
you
want
to
experience
their
journey
-
their
voyage
from
strangers
to
lovers.
Tanu
Weds
Manu
has
some
great
moments,
some
standard
ones,
some
tedious
ones
as
well,
when
you
feel
that
the
story
is
being
stretched
for
no
particular
reason.
The
drama
tends
to
get
heavy
after
a
point
and
that
takes
a
toll
on
the
film.
In
fact,
the
writing
gets
shaky
in
the
middle
of
the
second
hour,
although
the
finale
is
well
thought
of
and
implemented.
You
may
call
it
cliched
or
formulaic,
but
it
works
big
time.
Meet
Manu
[R.
Madhavan],
a
seedha
saadha
Doctor
from
London.
Intelligent,
temperate
and
from
a
respectable
family,
the
perfect
groom
which
every
parent
wants
for
their
daughter.
When
he
arrives
in
India,
he
realizes
that
India
has
changed
and
so
have
the
people.
The
Indian
women
in
particular
are
more
attracted
towards
the
Western
lifestyle.
Family
pressure
leads
him
to
Kanpur
to
meet
Tanu
[Kangana
Ranaut],
the
quintessential
small-town
girl
who
has
studied
in
Delhi.
Tanu
(Kangana
Ranaut)
is
a
smart,
intelligent
girl
who
will
do
everything
that
her
parents
will
disapprove.
With
a
mind
of
her
own
and
a
love
for
rebellion,
Tanu
is
dead
against
an
arranged
marriage.
But
destiny
holds
something
totally
different
for
these
diametrically
diverse
personalities.
Although
not
similar
to
Jab
We
Met,
Tanu
Weds
Manu
conjures
up
memories
of
the
Imtiaz
Ali-directed
film.
The
Punjabi
setting
and
the
rebellious
girl
are
two
prominent
similarities
that
one
recollects
instantly.
Besides,
in
Hum
Dil
De
Chuke
Sanam,
Pardes,
Jab
We
Met
as
well
as
Tanu
Weds
Manu,
the
girl
is
in
love
with
someone
else
and
the
protagonist
helps
them
take
the
relationship
forward.
But
director
Aanand
L
Rai
ensures
that
Tanu
Weds
Manu
retains
its
individuality
and
doesn't
come
across
as
a
replica/clone
of
those
immensely
likable
films.
In
fact,
his
handling
of
several
light
moments
as
well
as
dramatic
ones
is
exemplary.
Tanu
Weds
Manu
has
some
wonderful
moments
in
the
first
hour,
but
I'd
like
to
single
out
the
sequence
when
Madhavan
confides
in
Deepak
Dobriyal
about
Kangana
Ranaut
not
wanting
to
marry
him.
Also,
the
sequence
at
the
interval
comes
as
a
bolt
from
the
blue.
It's
the
writing
in
the
post-interval
portions
that
bothered
me.
Jimmy
Sheirgill's
sequences
aren't
as
convincing.
Also,
since
Kangana
is
shown
to
be
a
blabber
mouth
and
also
forthright
and
outspoken,
why
does
she
turn
docile
all
of
a
sudden?
It
doesn't
go
with
her
character,
honestly.
Also,
since
Ravi
Kissen
has
Madhavan's
photograph
[presumably
handed
to
him
by
Jimmy
Sheirgill],
why
is
Jimmy
unaware
that
Madhavan
is
the
same
guy
when
he
meets
him
for
the
first
time?
A
few
hiccups,
but
not
the
type
that
really
go
against
the
film.
However,
the
penultimate
15/20
minutes
bring
the
film
back
on
tracks.
Actually,
the
climax
is
the
highpoint
of
this
enterprise.
The
soundtrack
takes
you
by
complete
surprise.
It
is
earthy
and
charming.
'Sadi
Gali'
and
'Jugni'
are
two
tracks
that
act
as
pillars
and
would
help
attract
moviegoers
to
cineplexes.
Also,
the
popular
track
of
yesteryears,
'Kajra
Mohabbat
Wala',
is
well
integrated
in
the
narrative.
Chirantan
Das's
cinematography
captures
the
lush
locales
of
North
India
well.
Even
though
Madhavan
enacts
the
role
of
an
NRI,
he
doesn't
come
across
as
a
stereotypical
phoren
returned
desi.
He
is
real,
restrained,
yet
forceful.
To
essay
a
character
in
such
an
understated
manner
is
a
challenge
for
any
actor
and
he
does
it
with
complete
understanding
of
the
character.
Unlike
her
past
films,
Kangana
Ranaut
plays
a
part
that
has
a
zest
for
life
and
is
bold
and
fun-loving
at
the
same
time.
She's
audacious,
but
lovable.
Nonetheless,
she
needs
to
work
on
her
pronunciation/diction,
which
sounds
so
peculiar.
Jimmy
Sheirgill
springs
a
pleasant
surprise.
Known
for
portraying
soft/positive
roles,
this
one
comes
as
a
complete
shocker.
Though
his
role
isn't
well
etched
out,
he
leaves
a
solid
impression
in
the
latter
reels.
Ravi
Kissen
is
wasted.
What
is
he
doing
in
this
film?
Deepak
Dobriyal
is
superb
yet
again.
This
dynamic
actor
is
under-utilized
in
our
films.
Rajendra
Gupta,
K.K.
Raina,
Navni
Parihaar
and
Deepti
Mishra
are
effective.
Eijaz
Khan
and
Swara
Bhaskar
are
wonderful.
On
the
whole,
Tanu
Weds
Manu
is
a
feel-good,
light-hearted
entertainer
with
the
right
dose
of
humor,
drama
and
romance,
besides
a
popular
musical
score
and
some
smart
dialogue
that
act
as
toppings.
If
you
like
simple,
uncomplicated
films
that
tug
at
your
heartstrings,
then
chances
are
that
you
might
just
like
this
sweet
little
rom-com.
In
terms
of
economics,
the
right
holders
have
already
recovered
a
substantial
amount
from
the
sale
of
Satellite
Rights.
The
merits
of
the
film
coupled
with
no
major
opposition
till
1
April
will
ensure
healthy
returns
on
their
investment,
thus
making
the
investors
recover
the
remainder
amount
easily.
The
only
concern
is
the
inopportune
release
period
for
movies
[World
Cup]
and
chances
are
its
business
might
get
affected
on
days
when
crucial
matches
are
played,
especially
when
India
is
on
field.