Behen Hogi Teri movie review: Rajkummar Rao is the lone saviour
Behen Hogi Teri Movie Review
Behen Hogi Teri Movie Review: Rajkummar Rao Grabs Attention With Impeccable Comic Timing
Behen Hogi Teri Movie Review: Shruti Haasan Is Miscast, Rajkummar Rao The Only Real Spark
Behen Hogi Teri :
The protagonist of Behen Hogi Teri is a laidback Lucknow lad so unremarkable that the whole world and its uncle get away with the assumption that he can only be a brother to the girl he secretly loves. Sounds a touch different? It’s far-fetched too. This film does make a lot of noise around the unassuming hero’s struggles to eliminate the hurdles in his path, some of them of his own making, but it says nothing that is significant enough to set it apart from a run-of-the-mill Bollywood rom-com. The only real spark in the terribly tepid Behen Hogi Teri is provided by Rajkummar Rao. Solid as Shiv ‘Gattu’ Nautiyal, the boy who is more a callow, pesky teenager than the man he should be, the lead actor receives little support from either the patchy screenplay or the remainder of the cast. As a consequence, the film wallows in a morass of mediocrity and all its efforts to heave itself out of it falls flat.
Shruti Haasan and Rajkummar Rao in Behen Hogi Teri
Shruti Haasan is completely miscast as Binny Arora, a spirited Punjabi girl whose multiple suitors, real and imagined, cause much confusion and heartburn. But this isn’t the worst of debutant director Ajay Pannalal’s missteps in Behen Hogi Teri. The plot itself is wafer thin and exceedingly fatuous, when it isn’t irritating.
The title of the film, for one, is grossly sexist – it not only defines the heroine solely in the context of her relation, familial or otherwise, to the men around her but it also assigns ‘ownership’ of her fate to the latter. Mohalle ki ladkiyaan maa behen hoti hai, says Gattu’s dad (Darshan Jariwala) at the dinner table. Cringeworthy. Yet, Behen Hogi Teri, for the most part, might seem like a lot of harmless fun. It is precisely this apparently inoffensive nature of the amusement that it delivers that makes the film particularly regressive. Its mindset reeks of disregard of, if not outright disdain for, a girl’s right to let her heart chart its own course.
The film refers to ‘fireworks’ more than once but produces none. Early on, Gattu says of Binny: “Yeh normal pataka nahin, firebrand hai.” But the heroine does little thereafter to genuinely justify the ‘firebrand’ tag. In fact, she admits that she was once a gunpowder-dry firecracker but has now lost her fizz. In the universe that Behen Hogi Teri constructs, that is exactly how a ‘good girl’ is supposed to end up.