Ultimate Bhai-Sexual Comedy!
Let alone issues you may (or may not) have with this pic, there are some serious problems in here between the film's lead characters that are worth every minute of your sweat - even if you deem them very #FirstWorldProblems, so to say. They appear urgent, essential, nonetheless. What sets this Sweety picture apart is a seamless smile running through the whole film still - something that inevitably transfers from the screen on to your face, while the filmmakers manage to even sway your emotions on occasion, and keep you engaged with far more suspense than suspension of disbelief.
What's the big deal? Well, here's the big deal. As a genre, this is what you might call a quintessentially juvenile, North Indian 'launde wali' picture. It's full of lad humour, to explain in English. The whole set-up though is so originally desi, alternating between a mansion in Meerut, and a swanky bachelor-pad in Delhi, funded by a joint family of wealthy halwais (sweet shop owners).
The battle of sexes, needless to add, is basically about how a woman treats her man (prospective or otherwise) as a perennial, personal project - a work in progress, as it were. She employs every astra (weapon) in her armour (sexual, political) to see to it that he dances to her tune, forever; and ideally dances alone. She's not simply insecure - just inherently wily.
Frankly, I can imagine a lot of women finding this film admittedly sexist. But you tell me a joke, and I'll you tell you the cyst in that humour. That's how any comedy works, or walks, boss - in the opposite direction of political correctness. So, please don't fret is all I'm sayin', give peace a chance.
The hero here, since you must know, is called Sonu. He is fretting, because his bhola-bhala BFF, that's Titu, is under the spell of Sweety. Titu and Sweety have only met recently, and they're about to get married. Sonu, I suppose, can't stand Sweety, because she'll have him sit nowhere near Titu, once she marries him. Now, this is hardly as complicated as the film's tongue-twister title.
How much can you possibly plough through such a plot? That is essentially the brilliance in its story-telling. Who's the script-doctor Love here, by the way? The writer-director is called Luv, no less. He equally skillfully cracked the desi bro-code in the sleeper-hit, current cults, Pyaar Ka Punchnama (PKP) and its sequel, with the same cast (give or take a few), within the same genre, only getting progressively better at it - PKP2, I felt, was superior to the first part. This one's definitely the best of the lot. The cast is absolutely up to the mark. The one who, in fact, stands out is Alok Nath as the cool, Black Label swigging, Punjabi grand-dad. For once, from what I hear, Nath is in a role closer to his actual self, rather than the Sanskari parts he's walked through most of his career. Kartik Aaryan plays the jilted-bro Sonu.
Aaryan is best remembered for his motor-mouth monologues on the state of the Indian man in the two PKPs, which became instant sensations on YouTube. Why? Because of the exaggerated 'bhadaas' in all that bak-bak. Lots of young, supposedly 'suppressed' bros could identify with the heart-felt catharsis. They'll feel the same watching this Sweety picture. It's seeti-maar stuff, totally.