Mard Ko Dard Nahi Hota Movie Review

A sub-kind created in Hollywood as of late is that of hero dark satire. DEADPOOL [2016] and KICK-ASS [2010] are fine instances of it and have been cherished over the world. In India we have slacked impressively here. Disregard superhuman dark satire, even movies with dull silliness are only from time to time made likely since such movies need standard intrigue. However at this point chief Vasan Bala has responded to the call and the outcome is MARD KO DARD NAHI HOTA. The hero isn’t a superhuman here in spite of the fact that his condition makes him a power to figure with. With such a fascinating thought, does MARD KO DARD NAHI HOTA figure out how to function and give an engaging time to the watchers? Or on the other hand does it bomb in its undertaking? How about we examine.

MARD KO DARD NAHI HOTA is the tale of a youthful chap with an unprecedented capacity. Surya (Abhimanyu Dassani) is brought into the world with an uncommon deformity called inherent obtuseness to torment. In less difficult words, he can’t feel torment by any stretch of the imagination. This releases him wild as a kid and even get harmed on different occasions, since he doesn’t understand when he has broken a bone or requires therapeutic mediation. His dad Jatin (Jimit Trivedi) is in this manner careful about him. Having lost his better half and Surya’s mom (Shweta Basu Prasad) days after Surya is conceived, his dad is thus considerably increasingly concerned. Be that as it may, Surya’s maternal granddad (Mahesh Manjrekar) who likewise remains with the two is progressively open and receives a flighty strategy for child rearing. In school, Surya gets harassed in light of his condition and the special case who acts the hero is Supri (Radhika Madan). She anyway has a damaging dad and she’s defenseless before him. Surya feels obliged to support her and keeping in mind that doing as such, he winds up pushing her dad from the patio of a three-four storeyed structure. The dad fortunately endures yet Surya and his family are constrained to leave their home and move somewhere else. Here, Surya develops in a controlled situation under the exacting watch of Jatin. He’s permitted to go out just once. In the present-day, Surya is around 21 years old. Jatin is enamored with a lady named Nandini and he needs Surya and the maternal granddad to meet her at her living arrangement. Both subsequently adventure out. Be that as it may, in an amusing misconception, the granddad is removed by the cops and gets isolated by the Surya. Surya in the mean time catchs Supri, who has now grown up as a boss young lady. He sees her posting attention blurbs of Karate Mani (Gulshan Devaiah), who Surya has worshiped since he was a child. Surya chooses to meet Karate Mani quickly and furthermore Supri. Be that as it may, when he achieves the karate focus, he’s stunned to see the spot scoured and Karate Mani harmed. This is the point at which he discovers that Karate Mani needs assistance as he’s being tormented by his abhorrent twin sibling, Jimmy (Gulshan Devaiah). What occurs next structures the remainder of the film.

Vasan Bala’s fundamental plot is novel and not at all like anything watchers have found in Bollywood. Nonetheless, the plot all in all is very waferthin. It’s somewhat unconvincing to see that Surya and others are essentially recovering a gold memento stolen by Jimmy and that’s it. Vasan Bala’s screenplay anyway endeavors to include some inventive and engaging minutes to prop the enthusiasm up. Vasan Bala’s discoursed are very sharp and interesting. Supri’s comments on Rumi are certain to cut the house down.

Vasan Bala’s course is first rate in spite of some harsh edges. The treatment is very novel and that makes the film connecting all things considered. The way in which he has executed a few groupings and Surya’s way of reasoning are additionally very fun. The utilization of popular culture references further add to the appeal. In the event that just the film had a strong and persuading storyline, MARD KO DARD NAHI HOTA would have been in another dimension.

MARD KO DARD NAHI HOTA starts on a fun note. The youth parcels are fascinating however get extended a bit. Noteworthy arrangements here that emerge are Surya pushing down Supri’s dad and Jatin admitting to Surya’s maternal grandma that he cherishes Nandini. The last is diverting and would clearly be adored. Be that as it may, the principal half is utilized for develop and setting up characters. It’s just in the second a large portion of that the film truly gets intriguing as Karate Mani’s characters gets characterized appropriately and furthermore Jimmy is presented in the account. The battle in the security office is engaging and even the finale is entertaining. Be that as it may, the battle arrangements are very hauling. The film likewise doesn’t finish on a defended note, particularly what occurs with Karate Mani. The creators do drop a clue about a conceivable continuation however.

Abhimanyu Dassani makes a very sure presentation and inspires with his drama. Radhika Madan, last observed in PATAAKHA [2018], gets the opportunity to play a ‘pataakha’ once more. She has a fine screen nearness and adds to the film’s diversion remainder. Extraordinary notice ought to likewise go to her activity scenes. Gulshan Devaiah is the shock of the film. His twofold job act is brilliant particularly the piece of the enemy. He incites the most extreme chuckles in the film. Mahesh Manjrekar is likewise taking care of business and after quite a while, he gave such a noteworthy exhibition in a Hindi film! Jimit Trivedi, who awed in 102 NOT OUT, additionally adds to the good times. Shweta Basu Prasad leaves an imprint in an appearance. The performing artists playing the youthful Surya and Supri are very something. The on-screen characters playing Nandini, Atul, Supri’s mom and the old, moralistic security officer progress nicely.

Karan Kulkarni’s music won’t become a chartbuster yet is used well in the film. ‘Rappan Rappi Rap’ resembles a subject of the film. ‘Life Mein Fair Chance Kiska’ has a nostalgic vibe, with the vocalist warbling in the style of S P Balasubrahmanyam. ‘Tere Liye’ is contacting. ‘Nakhrewaali’ is well shot. ‘Dreamtime’ comes at a pivotal crossroads while ‘Kitthon Da Tu Superstar’ and ‘Shaolin Sky’ don’t have the ideal effect. The foundation score anyway is in great match up with the film.

Jay I Patel’s cinematography is slick. Eric Jacobus and Anand Shetty’s activity is one of the highpoints of the film. It’s great arranged and would be cherished. A couple of shots do get somewhat violent however. Prateek Parmar, the military workmanship expert, likewise merits acclaim for his administrations. Ratheesh U K’s generation configuration is practical. Abhilasha Sharma’s outfits are impressive, particularly the ones worn by Radhika. Prerna Saigal’s altering could have been more tightly. The 137 moment long film should have been no less than 10 minutes shorter.

Overall, MARD KO DARD NAHI HOTA lays on a fascinating thought and is all around coordinated and performed. In the cinematic world, it should rely upon a solid informal exchange to post nice numbers at the ticket windows.