It's a Wonderful Afterlife (Hindi)

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4.5/10
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4.0/10

My Big Fat Greek Wedding and Shaun of the Dead meet in this charming comedy romp about an Indian Punjabi mother taking her obsession with marriage into frighteningly funny territory. Mrs Sethi, a widow, can't bear the thought of her only daughter being alone and unhappy. Okay, she's a little plump and opinionated… but she would make a great wife for some lucky man, if only she were given a chance. When Mrs Sethi can no longer stomach the rudeness of families who refuse her daughter, she takes matters into her own hands with the only way she knows... Suddenly a police hunt begins for a serial murderer who cooks a killer curry. Mrs Sethi doesn't feel too guilty until the spirits of her victims come back to haunt her as they are unable to be reincarnated until their murderer dies. Mrs Sethi has no problem killing herself – she'll get to see her dead husband again – but how can she go before her beloved daughter is married? The spirits realize that helping Mrs Sethi’s daughter find a suitable husband before the police catch her is their only chance for a wonderful afterlife! It's a big bloody wedding and a comic feast which takes the phrase 'I could murder a curry' to hysterical new heights. It’s A Wonderful Afterlife is a keenly anticipated "killer romantic comedy" from Gurinder Chadha, the international award winning director of box office hits like Bhaji On The Beach, Bend It Like Beckham and Bride and Prejudice

My Big Fat Greek Wedding and Shaun of the Dead meet in this charming comedy romp about an Indian Punjabi mother taking... Show More

CinemaaOnline

Editor   May 09, 2010 03:56  

The film has a quaint charm. Like a lukewarm coffee on a mildly warm Sunday afternoon, with sun streaming through the slightly parted windows throwing up shadows of the swaying branches outside. The comic flavour of the film appeals in a mildly entertaining way, hooking if not engaging. It balances the compelling questions of Roopi’s situation, a terribly real and painful one, universal in its Indian context without trivializing its import or caricaturizing it. The situational comedy, however, of the climax is out of sync and formulaic attempt at increasing the tempo rings false. The predictable and formulaic end too is a disservice to a quirky, interesting and inherently original idea.

Kanishk Singh