Super Nani review: Rekha’s ‘not so super’ comeback

Rating: 1 star

During Super Nani’s promotion, director Indra Kumar had categorically mentioned about his film’s delay stating that he had to re-shoot a major part because he didn’t like it. Sir, in which case, how can you expect the audience to like it? So, considering Indra’s effort and hard work, one entered the cinema hall with a little hope to get entertained though one was well aware about the movie’s plot and characters. But little did one anticipate how risky a task it was!

There have been several instances when noted filmmakers have adapted popular Gujarati plays into the movie format. Example: Gaurang Doshi’s multi-starrer Aankhen based on Gujarati play Aandhalo Paato and Rohit Shetty’s Golmaal based on the popular 1980s play. Creating a film out of a play is in no way an easy task. Indra Kumar, whose latest presentation is based on the hit Gujarati play – Baa Aae Maari Boundary – would certainly vouch for that. Point to be noted here is that Indra had bought the rights of the play more than a decade back but decided to make a movie in today’s time when it has no relevance and that’s where Indra failed, really.

Super Nani takes us back to the cinema of the 1980s where melodramas were considered a successful formula. Unfortunately, the movie has got nothing new to offer and you end up watching the same trash – a woman fighting for self-respect and rising against all odds in her family after teaching her family members a lesson – ‘Give your mother the respect she deserves.’ The bottom-line message of the movie being, ‘Mother needs care, love and attention for the work she does relentlessly and thanklessly round the clock.’

Indra cleverly draws references from Amitabh Bachchan and Hema Malini’s Baghban and through his film’s protagonist Super Nani aka Bharti Bhatia, Rekha gives us the story of woman empowerment where a grandmother goes from de-glam to super glam to make her family members realise her true worth.

Nani’s mega transformation from being a doormat to bagging women’s achievement award for inspiring women is in good measure due to her grandson Mann (Sharman Joshi) and his girlfriend (Indra’s daughter Shweta Kumar). This could have been an interesting plot had Indra not resorted to melodrama and the torturous lecture-baazi in every frame and dialogue. Ad filmmaker Bamboo (Anupam Kher) and rude husband RK Bhatia (how innovative) essayed by Randhir Kapoor irritates rather than entertains. In fact, some scenes with over melodramatic dialogues invoke unintentional laughter.

If this is considered as Rekha’s comeback then the audience, especially her fans, would surely prefer their favourite diva to sit at home and not just do cinema just for the sake of it. It’s hard to imagine and watch Rekha play a helpless Nani considering the memorable powerful roles, Khoon Bhari Maang and underworld don Madam Maya in Khiladiyon Ka Khiladi that she has played effortlessly and convincingly. Had Indra made the film a decade back it would’ve still made some sense. Sharman gives his best and he’s good in all those emotional tearjerker scenes but his broken Hindi addressing a male as ‘teri’ and a female as ‘tera’ is annoying. Shweta, to her credit has two songs shot in Dubai. She is also in an important scene where she’s asked to switch on the lights!

Indra Kumar is the same director who made family entertainers like Dil, Beta and Mann that once upon a time made stars out of Aamir Khan, Madhuri Dixit and Anil Kapoor. It’s hard to believe that Super Nani happens to be a venture from the very same celebrated director. Maybe he’s best fitted to churn out sex comedies! We suggest you buy the DVD of the Gujarati play Baa Ae Mari Boundary instead of succumbing yourself to this super torture.

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