Hindi cinema finally has its own ‘hangover’

middle of chaos madgaon expressthe character declares with regret.Pere to go Oh, nahi, paa, rahe, they.Abu jaa nahi paa rahe hain” It’s a moment where decades of cinematic tradition and collective growth come together.The buddy road movie starting with dil chahta hai It comes full circle in an explosion of stupidity that borders on frenzy. All the Goa plans we made along the way, all the adventures we thought we could do but never did.meanwhile dil chahta hai It offered an introspective journey into the little world of young adult film. madgaon express We felt like we had recklessly thrown off our reservations, and the internet has been haunting us ever since. As a result, not only madgaon express It’s very silly and has a lot of stylized fun, but it’s also a valuable commentary on the arrogance of the internet generation.

Like most “Gore projects,” this story begins in the 90s. It begins with Dhanush (Divyendu), Ayush (Avinash Tiwari) and Pratik (Pratik Gandhi) as three outspoken and enthusiastic boyfriends who dream of a vacation in Goa with beaches and “bikini girls”. . Losers who go to school. The three remain lifelong friends in the broadest sense of the word. But not all of them have equally rewarding trajectories. While Ayush and Pratik migrate abroad to earn a lot of money, Dhanush aka Dodo grows up in extreme poverty, craving material deceit. He even creates a fake online persona to fill the void. Years later, an unexpected plan brings the three of them together in Mumbai for a final attempt at their unfulfilled trip to Goa. Bags are exchanged on a dirty train and all hell breaks out in a seaside state filled with drug lords, undercover cops and colorful gang leaders.

madgaon express Quite a bit the hangover Here’s a story about Saif Ali Khan’s ill-fated escape from Goa dil chahta hai Stretched across the film. As a plot, it’s very basic, but it’s the small details and the chemistry between the three friends that overcome their weaknesses and cliched self-indulgence that counts. Importantly, the three friends represent contrasting types. There’s a gullible man, a bitter health nut, and a cheerful loser. More than the chaos that surrounds them, it’s the banter between the three that takes away a movie that could fall victim to its own propulsive contrivances. The latter part is supported by Chhaya Kadam and the extraordinary Upendra Limaye, who effortlessly play exotic and primal figures as the warring ex-couple. There’s also the odd case of a vague Nora Fatehi arc and an underwhelming Remo D’Souza (yes, him) cameo that barely makes an impression.

Director Kunal Kemmu madgaon express is not just a series of campy but fun gags delivered at the expense of an open-ended template, but a meticulously crafted explosion of cinematic tropes. The three friends complement each other, restoring a sensitivity to sequences that can sometimes feel stretched and overstuffed with crass elements. There’s this seriousness to each performance, no matter how thinly veiled their reactions to the rapidly unfolding reality around them seem. Gandhi does a great job playing the role of the man who is the most manipulated. Tiwary does a great job playing the charming role, which ends up undergoing a most humbling reality test in a horrifying turn of events. But this film, like his breakthrough performance, Pyar ka panchnama Divyendu is the wiser joker of the three, making even worse choices for bad decisions, but responding with equally witty comments. He’s a brash hustler, but at the same time, he’s also the defeated protagonist of the film, who has humanity and romanticism and relies on his world-weary shoulders to get through all the turmoil.

Producer Excel Entertainment are pioneers of road movies, and here they continue their commitment to adding luster, if not gravitas, to the buddy travel genre. Of course, there are nods to other iconic films along the way, but more important is the true connection to the roadmap that was adopted. Two of the three main characters are obsessed with social media. The third practically reflects a generation unwilling to land from the aerial heights of entitlement and prosperity. But thankfully, the film doesn’t make you feel guilty about them returning home, it just observes their disinterest for a more productive purpose: entertainment. .

Kemmu’s solid direction and great cinematography make Madgaon Express better than some of the other tours that Hindi films have undertaken in Goa. It’s impressive to think that a filmmaker and studio can turn over-exaggerated territory and vulgar sentiment into an explosion of decidedly insane and creepy candor, characters, and nostalgia. Madgaon Express isn’t as life-changing as Excel’s previous road films, but it’s probably the least self-centered of the lot. So it’s rewarding to witness Goa not only as a destination of sobering revelations, but also as a coming-of-age accident that never happened to those who went looking for it.