It is always a super sight to see Rekha on screen. And then when she makes a full-fledged return to the big screen in an author backed role in film Super Nani adapted from a Gujarati play (Baa Ae Maari Boundary by Imtiaz Patel). No wonder, Super Nani made for a much awaited watch, particularly due to the lady in there who has been around for over four decades and never failed to charm.
The movie starts off well and you do get a hang of the proceedings as Rekha, in complete 70s style, goes about her overdramatic ways. The title rolls are as everyone from Rekha's husband (Randhir Kapoor), son (Rajesh Kumar), daughter-in-law (Shreya Narayan) and daughter (Anchal Dwivedi) are introduced. While she cares for them all, for the family members she is someone who is just incidental and not really worthy enough of one single decent conversation. For her grand-son (Sharman Joshi) this is unacceptable and he goes about putting things in place.
Super Nani is called Super Nani because a dutiful housewife, (Rekha) prodded by her US-based grandson (a soppy Sharman Joshi speaking in a terribly fake NRI accent), reinvents herself as a glamorous diva to teach her thankless family a lesson in gratitude and humility.
While braving this outmoded farce, directed by Indra Kumar and starring Rekha in the title role, I thought of many other befitting titles it could have opted for.
In this whole setting, there are certain astonishing aspects of Super Nani that make one wonder how they could have been placed in the first place. Despite a mansion like setting with Randhir Kapoor being a CEO no less, there is just a single help in the house and it is Rekha who is shown to be running household tasks. Her family members are definitely mean and one could digest that as well. However, the way they go about insulting Rekha for the flimsiest of reasons is plain erratic. Agreed that a movie like this had to be over the top but in the name of drama, a few episodes get over-dramatic.
Sharman finds the model in Rekha in a jiffy. Her comfort to get into the skin of the character is almost instant, even though it is justified that she has a stage background. Her makeover is as easy as it gets and her rise to the top of stardom inside a year is stuff that dreams are made of. Furthermore, Rekha is in and out of her house at will which appears disorderly at many places.
But, what makes Super Nani watchable is the fact there are sufficient heart-warming moments interspersed by director Indra Kumar. Rekha brings in just the right emotions when dishonored and her change in persona on gaining a high in her personal and professional life makes one smile. Her humorous timing is perfect as well and one misses her more than ever before in these scenes. In the meantime Sharman is her ideal partner in these scenes and he brings in good laughter too.
Luckily, the drama never turns intense and there is humor interspersed every now and then. The way she goes about setting right her family members have a humorous tone to it which brings in the right entertainment quotient. In fact one expected this very aspect to stay on till the final act when Randhir Kapoor realizes her true worth.
Amongst actors, apart from Rekha everybody is required to be loud due to the film's theater like setting. Randhir Kapoor does well. Sharman Joshi, at places, reminds of his 3 Idiots act. Rajesh Kumar is suitable. Shreya Narayan brings on laughs. Anchal Dwivedi tries hard. Anupam Kher in a small role manages to make an impact. As Sharman's leading lady, Shweta Kumar is camera-friendly.
As for Rekha, it is this very aspect of seeing the lady glow again on screens that makes Super Nani a nostalgic watch. Of course with a much tighter tale and a more modern-day treatment, this Indra Kumar affair could have made for an even more thrilling watch.
Overall, it is an average film with Rekha’s good performance.