Movie review: Pintu Ki Pappi

Cast: Shushant Thamke, Ganesh Acharya, Jaanya Joshi, Viidhi Yadav, Vijay Raaz and Ali Asgar

Director: Shiv Hare

Rating: 5/10

Pintu Ki Pappi (pappi meaning kiss) is a romantic comedy that tries to deliver quirky charm but ultimately ends up becoming more baffling than amusing.

This is a movie that lives in the David Dhawan-esque genre of Hindi cinema, one that remains entrenched in the past, failing to evolve or progress beyond the '90s storyline.

The premise, involving Prashant “Pintu” Jaiswal (Shushant Thamke), who is inexplicably cursed so that every time he kisses a woman, she marries someone else, sounds odd enough to work. But in the hands of director Shiv Hare, it’s an absurdity that never finds its rhythm.

Pintu with his "gift", along with his boisterous uncle (Ganesh Acharya), decide to turn this oddity into a profitable business venture called Shaadi Pakki – a matchmaking service that capitalises on Pintu's misfortune. This should have been a comedic goldmine, but the execution is more of a misfire.

The film is cluttered with erratic storytelling, where characters appear and disappear seemingly at random, contributing little to the plot other than confusion. The humour leans heavily on outdated stereotypes and cheap gags. Unfortunately, these moments don’t land as funny and they come across as tone deaf and unnecessary, leaving you cringing instead of chuckling.

The performances are no less chaotic.

Shushant Thamke’s portrayal of Pintu is earnest, but he is caught in the film's inconsistent tone, unsure of whether he is in a wacky farce or a heartfelt romantic comedy. Choreographer turn actor, Ganesh Acharya, delivers a performance that is borderline over-the-top, with his loud expressions and exaggerated mannerisms doing little to enhance the story.

Jaanya Joshi and Viidhi Yadav, who play Pintu’s love interests, are okay at best but underutilised, reduced to mere plot devices rather than characters with depth. Vijay Raaz, a talented actor, brings some much needed flavour to the film as a gangster desperately seeking love, but even his charm cannot save the film from its spiralling, fragmented narrative.

The humour here feels forced. Ali Asgar’s portrayal of an effeminate man, for example, seems to exist solely for laughs that never materialise. It’s as if the film is trying to offend just for the sake of humour, relying on shock value rather than actual wit.

We as an audience have evolved passed body shaming jokes and tired jabs at the LGBTQ community. The film’s soundtrack, courtesy of Nitin Arora, contributes little to the overall experience. Every 15 minutes, another song pops up, further dragging out the film’s runtime and testing your patience in the process.

Ultimately, Pintu Ki Pappi squanders its potential. What could have been a light hearted, quirky romance devolves into an uninspired mess of clashing tones, outdated humour, and wasted performances. This one is better left unkissed. Trust me, you’re not missing much. It’s better to kiss it goodbye. Pintu Ki Pappi is now showing at cinema near you, if you dare.

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