The last time Kangna was on screen, she inspired many girls to be dumped by their fiances and take off on an adventure.
In Tanu Weds Manu Returns, she’s in a double role where both her characters are strong women (which merely means they were attributed characteristics other than bubbliness, vivaciousness and a dramatic switch to ‘decent’ clothes after falling in love with the hero).
But the movie drags on in a bizarre series of events, leaving you wondering when the original disastrous couple are finally getting back together. At least, you hope that he’ll end up with Tanu because Kusum is way out of his league. However, it’s not a complete waste of a film. You do get to see a sardar in shiny garba attire playing dandiya.
Kangna has been praised for her performance, and also for being the first female lead to carry a movie into the sycophantic hundred-crore film club. Not that she doesn’t deserve the laurels, but what I really want to talk about is R. Madhavan’s character, Manu. Being a doctor, a quintessential ‘good guy’, a resident of London, a doctor, a resident of London, a quiet well-behaved person and a doctor, he is accorded the kind of self-worth that was previously only reserved for beautiful virgin princesses.
In the dramatic series of events that follow, Manu goes on to demonstrate one of the worst rebound relationships in the history of mankind. He stalks a young college girl who looks like his wife, makes her stand up to fight with her conservative Haryanvi family so that she could marry him and then refuses to have any semblance of courage to speak up and tell her the marriage isn’t going to work when he feels it isn’t right. His wife, Tanu, though neurotic, shows the stubbornness and grit to get back her husband. On the other hand, the only thing Manu is stubborn about is his refusal to think before making the decision to marry. And to be a nuisance to Raja Awasthi whenever he attempts to get married.
Tanu was a player and doing absolutely nothing in London instead of enjoying all the attention and freedom that she previously did in Kanpur. That’s not a sign of a very mature personality, and Manu would have realised that if he had bothered considering that before, but he was too busy being the creep who kisses an unconscious girl, and then wants to marry her (that seems to be his reaction to everything).
As I write this, I have realised that Manu Sharma is in fact, the quintessential Bollywood heroine. He has no personality, waits around to be rescued and has no particular interests other than wanting to be married. Tanu and Kusum would do well to take a cue from Rani and go away on a trip far away from him—they would forget all about Sharma.