Govinda Naam Mera Movie Review: According to Sukanya Verma, it is sacrilege to name your film after Bollywood’s greatest dhinchak hero while producing something so uninteresting.
The objective is to deceive.
Govinda Naam Mera first gives the impression of evoking the age of corny comedies, when the David Dhawan-Govinda pairing was associated with vulgar romance and lewd humor.
However, this black comedy has more twists than timepass on its mind, and the overtly polygamous tone of its advertisements, invoking Saajan Chale Sasural and Gharwali Baharwali, is only a façade.
Though we’ve seen a few films in the genre this year, including Darlings, Positive Luck Jerry, and An Action Hero, none have been as dull as Govinda Naam Mera, you’d think that’s a good thing.
It is sacrilege to call your film after Bollywood’s most dhinchak hero while producing something so uninteresting.
Despite having a trio of talented actors at his disposal, Shashank Khaitan, the director of the Dulhania films (Humpty Sharma Ki Dulhania, Badrinath Ki Dulhania), and Dhadak, commits this offense.
Vicky Kaushal doesn’t naturally lend himself to slapstick humor, yet he submits to the silliness in a sports manner and escapes uninjured.
Kiara Advani’s energy is much more powerful than is given credit for.
Release the vixen, someone.
Certainly, her co-star has.
Although the part is brief, Bhumi Pednekar is sass personified and waltzes through it while portraying a heroine who treats everyone in her path with contempt.
Govinda Naam Mera Movie Review
Govinda Naam Mera is unable to overcome its mountain of clichés and plot devices, despite all of its attempts at subversion.
It never develops into the caper Khaitan had in mind, starting with the opening voice-over complaining about the big terrible city of Mumbai for the nth time and continuing with its commitment to the Abbas-Mustan school of settling scores.
With Govinda’s (Vicky Kaushal) origin narrative, the proceedings get off to a very brazen start.
This pushover son of a bald action director and junior actor, a struggling Bollywood choreographer, is embroiled in a bitter court dispute over a dilapidated bungalow with his late father’s other wife and other family members.
When he’s not having bizarre dreams about his girlfriend and colleague choreographer Suku (Kiara Advani), he’s yelled at by his lazy wife Gauri (Bhumi Pednekar).
Govinda’s grumpy half looks to be in self-imposed quarantine, demanding “do crore do, divorce lo,” while decked up in seductive negligees and with nowhere to go. Both the cause of Gauri and Govinda’s erratic estrangement and their eagerness for an open marriage remains a mystery.
When a significant person passes away suddenly, relationships take a backseat as Govinda-Suku hurriedly take over in the midst of a motley crew of legal experts, lenders, brokers, builders, drug dealers, and cops hot on their trail or bargaining them for money.
As Govinda Naam Mera strives so hard to be entertaining, it forgets to actually be any. Double-crossing partners, tattletale domestic help, and commission-hungry agents well-versed in shady transactions are all over the place.
Starry-eyed characters in Bollywood don’t amount to any meta humor, but they still expect us to giggle at innuendos like Renuka Shahane’s caricature of facial paralysis in her role as Govinda’s cranky mother, Ma-Ka-Bo, short for Malad, Kandivali, and Borivali.
Every two seconds, sums of XYZ crores are spoken, a never-ending game of backstabbing is played, and the outsmarting shenanigans become tiresome early on in the show.
By the time the truth emerges—which is essentially forced upon us—nobody is really interested.
Disney+Hotstar offers a stream of Govinda Naam Mera.