Hindi

‘Tanu Weds Manu Returns’: Fair entertainer

Published

11 years ago

May 22, 2015

MUMBAI: Most sequels are not even sequels; they are just another story taking advantage of the same title used by an earlier successful film. To that extent, Tanu Weds Manu Returns justifies its name, being a proper sequel to Tanu Weds Manu (2011).

In the first film, Kangana Ranaut and R Madhavan were married after a long drama. Tanu (Ranaut) had two suitors, Madhavan and Jimmy Shergill, both of whom brought a baraat to her house. Shergill was the violent kind and even ready to shoot down Madhavan but later had a change of heart looking at Kangana’s preference.

Of course, the writer and director have bent many rules, taken a lot of liberties wanting to live up to the original — but they have come up with a fairly entertaining fare.

The first film ended on a happy note with Tanu marrying Manu. The sequel starts with realities of married life. It is four years since they married and the marriage has gone sour. The couple is in London. Madhavan, who is now a doctor(!), keeps busy while Kangana tries her hand at various activities including to run a cr?che but to no avail. Compared to her tomboyish life in her native Kanpur, she feels clamped and bored.

The film opens with the couple landing up at a madhouse. And one thought visiting marriage counselors solved marital problems! Since they are at an asylum, a panel of experts sits with them as both exchange accusation. Finally, Madhavan becomes violent and the expert doctor admits him in the asylum.

Kangana is on her way back to Kanpur, relieved she has got rid of Madhavan and can now be free again to get back to her old bold lifestyle. But, with a pang of guilt, she calls up Madhavan’s cousin, Deepak Dobriyal, to get Madhavan back from the asylum. Madhavan decides to return to India instead of staying back in London and carrying on with his practice. But he is morose. He still loves Kangana and expects that she will change her mind and come back to him.

But, soon, Madhavan finds someone who can fill his void; Kangana 2, a Tanu lookalike in Kusum, a Haryanvi Kangana in dual role. Kangana 2 is an athlete who not only represents the University but the state too. Initially, he just thinks that she is Tanu and starts chasing her till he is almost beaten and lynched by a mob when Kangana 2 shouts foul. He saves himself in the nick of time showing her the picture of his wife and how both look alike.

Soon a romance starts budding between the two. While Madhavan cultivates Kangana 2, Kangana 1 is busy catching up with her old flame, Shergill, and also uses a tricky paying guest law student in her house, Mohammed Zeeshan Ayyub. Ayyub starts his friendship with Kangana 1 by addressing her as a sister but soon gets emotional about her. He even sends divorce papers to Madhavan on behalf of Kangana 1 without her knowledge. In due time, the divorce comes through.

After crossing a lot of hurdles, Madhavan gets the approval of Kangana 2 and her family to agree to their marriage. That is when jealousy sets in and Kangana 1 reacts. After that, she sets out to win over Madhavan again.

The comedy ends here and melodrama begins. While Kangana 1 tries to belittle everyone, when it comes to running down Kangana 2, she gets it back because the latter is much more qualified and endowed despite being from a village background. Their first encounter cuts Kangana 1 to size. The melodrama ends opting to re-establish the “so called” Indian values as love is rediscovered.

Despite liberties taken, the script makes sure its entertainment quotient does not drop much. However, the end drama seems a little stretched. The director tries to stick to the basic idea of living up to being a worthy successor to the original; making Indian wedding films gives you a lot of stock content which is common to all films. The film manages to do so by about 75 per cent for after all, originals are always the best while in a sequel the surprise element is lost. Thankfully, the film does not go overboard by including songs and offers a couple of peppy numbers. The film is a few seconds over 120 minutes but can still do with a bit of trimming, especially towards the end. Photography is okay. Background score is effective at points.

As for performances, it is a Kangana vehicle all along and offers her a rare opportunity to pit her against herself in two varied characters. While Kangana 1 is good as usual, Kangana 2 steals a definite march over her: she adapts to being a native Haryanvi villager totally in command of her situations. Madhavan, despite having limited scope, manages to hold his own. Shergill’s character of a perceived threat remains just that. He is a paper tiger with a soft heart. Dobriyal impresses. Swara Bhaskar, Eijaz Khan and Dipti Mishra are okay. Ayyub is good and so is Rajesh Sharma, as usual. The supporting cast contains of celebrated character artistes like Rajendra Gupta, K K Raina, Navni Parihar and Rajesh Sharma who all justify their roles.

Tanu Weds Manu Returns is a fair entertainer. However, the opening response being weak, it faces further hurdles of IPL match today and the finals on Sunday, which will affect it. Also, the film caters mainly to the multiplex audience, factors, which may limit its prospects.

Producers: Krishika Lulla, Anand L Rai

Director: Anand L Rai

Cast: R Madhavan, Kangana Ranaut, Jimmy Shergill, Ejaz Khan, Swara Bhaskar, Deepak Dobriyal, Mohammed Zeeshan Ayyub, Rajendra Gupta, Navni Parihar, K K Raina, Dipti Mishra, Rajesh Sharma, Akash Dahiya

Related Topics:Anand L Rai Film Review Jimmy Shergill Kangana Ranaut Krishika Lulla R. Madhavan Tanu Weds Manu Returns

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Hindi

Boney Kapoor acquires remake rights of Tamil political satire Thalaivar Thambi Thalaimaiyil

Strong word-of-mouth turns Pongal satire into remake pick

Published

3 weeks ago

February 9, 2026

indiantelevision.com Team

MUMBAI: A Pongal release, a village satire and a theatre visit in Coimbatore have turned into Boney Kapoor’s latest acquisition. The producer has secured the remake rights to the Tamil political satire Thalaivar Thambi Thalaimaiyil (TTT), a film that has been enjoying a strong theatrical run powered by word-of-mouth and praise for its sharp, rooted writing.

Set in a rural milieu, the story follows a panchayat leader thrown into disarray when a wedding and a funeral land on the same day. What unfolds is a swirl of satire and humour that skewers local politics, power games, bruised egos and family tensions, all anchored in the textures of everyday village life.

Kapoor first encountered the film earlier this year while in Coimbatore for the Celebrity Cricket League. With time to spare, he caught a screening at a local theatre. That viewing proved decisive. According to sources, the narrative style, performances and the film’s balance of political commentary and comedy caught his attention.

Interest quickly turned into intent. Kapoor reached out to the producers soon after to explore a remake. Talks gathered pace over the following weeks and came to a head last Friday at the film’s success party in Chennai, where Kapoor joined the celebrations and continued negotiations with the makers.

By the end of the evening, the deal was sealed, with Kapoor formally acquiring the remake rights.

For an industry constantly mining regional cinema for the next crossover story, the move is telling. A small-town satire with local flavour has found a national backer. And if Kapoor’s instincts hold, a tale born in one village may soon echo far beyond it.

Hindi

Fans take centre stage as Zee Cine awards turns the spotlight around

Published

3 weeks ago

February 7, 2026

indiantelevision.com Team

MUMBAI: When the applause gets louder than the dialogue, you know the fans have taken over. That was the unmistakable mood as Zee formally announced the Zee Cine Awards 2026, flipping the script to celebrate not just cinema’s stars, but the people who cheer them on the loudest.

The 24th edition of the awards marks a fresh chapter in Zee’s long-standing relationship with Hindi cinema, anchored in its fan-first philosophy, Fantertainment. This year’s theme, ‘Yeh Pal Hai Fans Ka’, reinforces a simple idea: cinema’s most powerful moments are shaped as much by audiences as by actors on screen. Presented by Maruti Suzuki, the awards aim to turn fandom into the main event.

The announcement, held in Mumbai, was anything but a routine press conference. Bollywood stars Akshay Kumar, Tamannaah Bhatia, Jacqueline Fernandez, Sonam Bajwa, Aparshakti Khurana, composer Mithoon and singer Palak Muchhal joined fans to kick off the celebrations, turning the launch into a high-voltage, participative spectacle.

Staying true to the theme, fans didn’t just watch the announcement, they drove it. Akshay Kumar took the lead, pulling fellow stars on stage and energising the room, before the unveiling of a live LED Fan Meter. Powered purely by audience cheers, the rising meter culminated in the reveal of the Zee Cine Awards 2026 ground event date, announced in unison with fans, blurring the line between performer and spectator.

The momentum continued as Tamannaah Bhatia, Jacqueline Fernandez, Sonam Bajwa and Aparshakti Khurana recreated iconic hook steps, joined by Mithoon and Palak Muchhal for music-led interactions. Games, spontaneous performances and playful banter kept the focus firmly on shared moments, underscoring the evolving bond between cinema and its audience.

Beyond the launch, the awards will roll out as a multi-platform journey across television, digital, print and fan-led experiences. The aim is sustained engagement from the first announcement to awards night cementing fandom as a cultural force rather than a footnote.

Commenting on the milestone edition Zee head of advertisement revenue, broadcast & digital Laxmi Shetty said the 24th Zee Cine Awards continue to draw strength from the network’s omni-channel ecosystem, reflecting how audiences consume content today across TV, digital and social platforms. She noted that long-standing brand associations, including Maruti Suzuki’s three-year partnership and support from brands such as Hell Energy, underline the platform’s scale, trust and cultural relevance.

As Zee Cine Awards 2026 gathers pace, one thing is clear: this year, the loudest cheers won’t just echo in the auditorium, they’ll shape the show itself.

Hindi

Prime Video to stream Don’t Be Shy, produced by Alia Bhatt

Published

4 weeks ago

January 30, 2026

indiantelevision.com Team

MUMBAI: Prime Video has found its next feel-good original, and it comes with a healthy dose of heart, humour and youthful chaos. The streaming platform has announced Don’t Be Shy, a coming-of-age romantic comedy produced by Alia Bhatt and Shaheen Bhatt under their banner, Eternal Sunshine Productions.

Written and directed by Sreeti Mukerji, the film follows Shyamili ‘Shy’ Das, a 20-year-old who believes her life is neatly mapped out until it suddenly is not. What follows is a relatable tumble through friendship, love and the awkward art of growing up, when plans unravel and certainty gives way to self-discovery.

The project is co-produced by Grishma Shah and Vikesh Bhutani, with music composed by Ram Sampath, adding to the film’s promise of warmth and energy. Prime Video describes the story as light-hearted yet emotionally grounded, with a strong female-led narrative at its core.

Prime Video India director and head of originals Nikhil Madhok, said the platform was delighted to collaborate with Eternal Sunshine on a story that blends sincerity with humour. He noted that the film’s fresh writing, earnest characters and infectious music make it an easy, engaging watch for audiences well beyond its young adult setting.

For Alia Bhatt, Don’t Be Shy reflects the kind of storytelling Eternal Sunshine set out to champion. She said the film stood out for its honesty, its coming-of-age perspective and Mukerji’s passion, which she felt was deeply woven into the narrative. Bhatt also praised Prime Video for supporting distinctive voices and bold creative choices.

With its breezy tone and familiar emotional beats, Don’t Be Shy aims to charm viewers whether they are rom-com regulars or simply in the mood for a warm, unpretentious story about life refusing to stick to the plan.