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.
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