For a while, it seems as if Govinda Naam Mera is going back to the era of cheesy entertainers. When the David Dhawan-Govinda combination carried the stamp of sizzling romance and raunchy humour.
Except that the heavily polygamous vibe of its posters. Evoking Saajan Chale Sasural and Gharwali Baharwali, is just a cover for this black comedy that has more twists than the passage of time on its mind.
Shashank Khaitan, the director behind Dulhania and Dhadak, commits this crime despite the trio of skilled actors at his disposal.
Slapstick comedy is not naturally suited to Vicky Kaushal, but he sportingly submits to silliness and comes out unscathed.
Kiara Advani’s energy is able to carry a lot more heavy loads than it deserves credit for.
Somebody let the fox go.
Her colleague certainly did.
It’s not a lengthy role, but Bhumi Pednekar is sassy personified and walks her way for a character who treats everyone around her like dirt.
For all its attempts at subversion, Govinda Naam Mera cannot rise above its pile of clichés and contrivances.
From his opening spiel about the big bad city of Bombay to the nth to his allegiance to the Abbas-Mustan school of reckoning, it never turns out to be what Khaitan had in mind.
Things start off pretty silly with the story of Govinda (Vicky Kaushal).
A struggling Bollywood choreographer, this stiff-necked son of a balding action director and a young artist is caught in a nasty legal battle over a dilapidated bungalow with his late father’s second wife and son.
When he’s not enjoying happy dreams about fellow choreographer and girlfriend Suku (Kiara Advani), he lets his wife Gauri (Bhumi Pednekar) boss him around.
All dressed up in slinky negligees and nowhere to go. Govinda’s grumpy better half seems to be in self-imposed quarantine demanding ‘do crore do, divorce lo’. The reason for Gauri and Govinda’s fickle estrangement remains as unclear as their enthusiasm for an open marriage.