Pati Patni Aur Woh Do Review: Mildly Amusing Marital Comedy Of Errors

If only Pati Patni Aur Woh Do were as funny as its director intended it to be, that would have been reason to celebrate, notes Sreeju Sudhakaran.

You have to appreciate Director Mudassar Aziz for his gumption.

It is not easy these days to find films that still reveal their title in three languages: English, Hindi and Urdu, a tradition that was once commonplace.

You have the protagonist insisting that a woman’s role should not be confined to the household. You have him pointing out that wild animals are not encroaching on our spaces, humans are encroaching on theirs.

A character even jibes that law and order function only on the instructions of UP ministers.

Sure, these are just basic marks of ‘decency’ you expect from a film.

But in times when alpha masculinity and subservience are increasingly celebrated, even basic decency feels oddly refreshing.

If only Pati Patni Aur Woh Do were as funny as its director clearly intended it to be, that would have been another reason to celebrate.

What’s Pati Patni Aur Woh Do About?

Prajapati Pandey (Ayushmann Khurrana) is a forest officer in Prayagraj who is utterly devoted to his journalist wife Aparna (Wamiqa Gabbi). Her best friend Nilofer (Rakul Singh) works in his department as a vet.

One day, Prajapati gets an unexpected visitor at his office: His college friend Chanchal (Sara Ali Khan), who needs his help.

To rescue her from a messy situation involving her boyfriend Sunny (Vishal Vashishta), the son of powerful MLA Gajraj (Tigmanshu Dhulia), Prajapati agrees to pose as her boyfriend for a few days in Benaras.

Naturally, this harmless lie spirals into a web of misunderstandings involving his wife, their intrusive dost, the ‘other woman’, suspicious relatives and assorted busybodies.

Marital Comedy of Errors

The theme of infidelity has often lingered around the edges of some of Mudassar Aziz’s films, including the previous Pati Patni Aur Woh, itself adapted from B R Chopra’s 1978 film of the same name.

But Pati Patni Aur Woh Do differs in one key aspect. Here, the supposed ‘betrayal’ emerges entirely out of comic misunderstandings while the male lead himself remains largely chaste and devoted.

Even the lies he tells his wife stem from his attempt to protect a friend from danger.

So while the film cannot be accused of trivialising philandering, it certainly can be accused of failing to extract enough humour from a premise overflowing with comic potential.

The plot may have itself to offer little novelty. In fact, Mudassar Aziz seems keen on channelling a more Priyadarshan-style energy into the screenplay than in his earlier films.

The comedy of misunderstandings between the married couple instantly recalls Hungama, while the jungle-set climax, where every supporting character converges at one chaotic location, feels like a lesser madcap version of Bhagam Bhag finale.

And honestly, Pati Patni Aur Woh Do is still more watchable than some of Priyadarshan’s recent comedies (looking at you, Bhooth Bangla). There is more coherence and focus in the script.

The Performances

Most of the cast members are also determined to elevate material that rarely rises to their level. Their comic timing, line delivery and sheer commitment occasionally squeeze out a dry chuckle.

Ayushmann Khurrana, in particular, is on a roll here, delivering wonderfully zany expressions without tipping into excess while bringing infectious energy to the role.

Among the three actresses, Wamiqa Gabbi stands out the most, matching Ayushmann beat for beat with her feisty delivery and scene-chewing flair.

Sara Ali Khan is strictly okay, while Rakul Preet Singh occasionally overplays her reactions with exaggerated body language.

Ayesha Raza was fun to watch as Chanchal’s endlessly talkative bua. Vijay Raaz works well as the moral-policing cop while Tigmanshu Dhulia suits the part as the intimidating MLA. Durgesh Kumar and Guneet Singh are also entertaining as Gajraj’s bumbling henchmen tracking Chanchal.

Missed Opportunities=

So what prevents Pati Patni Aur Woh Do from becoming a full-blown entertainer? For starters, there is a severe shortage of genuinely funny one-liners and you have to make do with the actors’ comic capabilities to liven things up.

The screenplay also lacks the sharpness needed for situational comedy to consistently land. At times, the writing ties itself into knots simply to manufacture misunderstandings.

The pre-interval stretch involving Prajapati, Chanchal, Nilofer and Aparna ending up at the same half-constructed building pushes the gag far beyond breaking point. It makes little sense for a character to climb atop a building in the middle of a city merely to get mobile network reception. One wonders what exactly that says about Benaras’ connectivity.

Soon after, another scene has two characters accidentally falling into each other’s arms and lingering there far longer than any sane person would, solely so a third character can witness the moment.

Likewise, in the third act, one character repeatedly hugs and kisses another on the cheek long after the point has been made, simply to trigger yet another misunderstanding. Surely there were smarter ways to stage these moments.

Also for a comedy that pats itself in the back in the end by calling itself ‘progressive’, there are sure some cringe attempts at homophobic humour.

Thankfully, Pati Patni Aur Woh Do remains somewhat restrained in its runtime, wrapping itself up within two hours. Yet even then, the two imaginary songs feel needlessly inserted merely to add glamour quotient.

By the way, if the film itself is not amusing you enough in the theatre, I suggest a fun game: Count how many times ‘Kajaria Tiles’ appears on screen. I guarantee that exercise alone will keep you entertained.

Pati Patni Aur Woh Do Review Rediff Rating: