Hopes were high when Kangana Ranaut announced her film, Tiku Weds Sheru, starring Nawazuddin Siddiqui and newcomer Avneet Kaur. Siddiqui’s casting not only promised certain quality. But Kaur also brought with her both freshness and relatability due to her TV roles as a child actor. Siddiqui shines as a romantic hero in the Sai Kabir-directed film. And Kaur performs admirably in her first part while displaying maturity much beyond her years.
Kaur portrays a young woman named Tiku who marries Siddiqui’s character Sheru in Tiku weds Sheru
Kaur portrays a young woman named Tiku who marries Siddiqui’s character Sheru in an effort to leave her religiously traditional home and go to Mumbai in order to pursue her acting career. However, when she learns who her husband truly is and his financial circumstances, her life falls apart. Overnight, she becomes mature and even accepts to make concessions in order to achieve her goals.
The performers perform admirably, but the erratic writing, which alternates between being overly dark, occasionally romantic, occasionally just difficult to watch, and often fast-paced, is a letdown. Tiku discovers she is pregnant with her former boyfriend’s child as soon as they get married. Although Sheru appears disturbed about it, it doesn’t take him long to adopt the child as his own. Sheru occasionally struggles to find job, but the next scene shows him making quick money and having a good time. In yet another scene, you can see him getting arrested.
The newly pregnant and extremely gullible Tiku is subsequently driven from her home and forced into prostitution.
Like most romantic comedies, this one concludes with Sheru saving Tiku, and they go on to live happily ever after. The general plot of the movie seems to be an effort to assemble a third installment of the highly acclaimed and financially successful Tanu Weds Manu.
The age difference between the actors—Siddiqui is 49 and Kaur is 21—remains the most unsettling aspect of the movie. Even if we ignore the influence of age on romantic relationships, as memorably sung by Jagjit Singh in “Na umar ki seema ho, na janmon ka ho bandhan.” One cannot help but notice how young Kaur appears in Jab Pyaar Kare Koi, Toh Dekhe Keval Man; in most shots, she resembles a teenage girl living with a man with grey hair who fancies her. When they kiss or when they share a bed, something in your stomach roils.
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A coupling of Kangana Ranaut and Siddiqui would have been irresistible; Kangana should have possibly taken on the part herself. The movie is best viewed only once. Yet its lack of shadiness and hilarity may cause you to watch it more than once.
