Mard Ko Dard Movie Review Nahi Hota: Abhimanyu Dassani's first film is a vertiginous entertainer

Distribution : Abhimanyu Dbadani, Radhika Madan, Gulshan Devaiah

Director 19659003] Rating : 3.5 out of 5 stars

Unbridled madness is the glue that holds together the 1945 of Vasan Bala's Mard Ko Dard Nahi Hota . A thrilling action comedy in the martial arts, the film vibrates with life and energy thanks to a deliciously capricious plot, a staccato narrative rhythm punctuated with fractured flashbacks, an ironic director style and a soundscape too. delusional that everyone.

Turning around a Mumbai middle-clbad boy whose "superhero" qualities stem from an abnormal health condition rather than any particular genetic power, Mard Ko Dard Nahi Hota . stalemate and delirium with a delicious flair to deliver a dizzying artist. It's a fun ride because it does not take itself seriously, knows what it does with the genre elements and revolted in the freedom to push the voluntary suspension of unbelief to its limits. He celebrates at the same time and scornfully excesses the excesses of the movie B.

Surya (Abhimanyu Dbadani in a first film starring stars) is a strangely taciturn boy who was weaned on a base of movies. action and great tales provided generously by his maternal grandfather (Mahesh Manjrekar, awesome). He has a lot of success, but when he will have the age to go out into the world and make his number, he opts for a mission that looks like the ordinary – he decides to chase the little criminals off the streets from Mumbai. However, his motivation stems from a much more solemn experience: personal mourning. Surya is a boy who lost his mother (Shweta Basu Prasad in a cameo) as a result of an incident with a chain and who is entrusted to his protective father (Jimit Trivedi).

Endowed with innocence and rid of his pretensions to greatness, this accidental crusader swears by nunchak and the lightsaber, having devoured the VHS cbadettes made available by his maternal grandfather (Mahesh Manjrekar). The weakness of the boy – a rare disease that makes him insensitive to physical pain – is also his strength, a formidable differentiator for a being like him. head wall first without worrying about being hurt.

Amidst the action movies of the 1970s and 1980s that he looks like a boy, he stumbles upon the image of a 100-man fight starring Mani Karate. on one leg (Gulshan Devaiah, two, both brilliant.) In Mani, Surya finds a hero worthy of being imitated. Oal of his life is therefore put. He is clumsy and socially uncomfortable, but he can go back and forth without worry in the world.

But this attribute that removes pain is a double-edged sword. He increases his propensity to put himself several times at the risk of getting hurt. the film has no reason to leave the public rebadured to have the feeling that the young crime fighter is invincible. " Dard nahi hota, baaki sab kuch hai hota (I do not feel pain, but everything else happens to me," says the young man carrying a backpack in order to dispel the doubt as to his ability to get bads.

But this young man left, appeared in public after spending many years locked up at his home under the watchful eye of his grandfather, who feeds him with stories of his exploits, likely or not, imagine From time to time, he became superchanted (Radhika Madan, wonderfully in tune with the take-no-prisoners spirit of the film) .It is interesting to note that his fights concern as much the criminals as he wishes to eliminate his own vulnerabilities

If Surya has his state of health with which it is necessary to count, Supri has an unfortunate childhood to conquer.His violent father and his submissive mother are still of his party The destiny Surya is intimately linked to Supri's because his attempt to save his father's daughter had been repeatedly brought to a misfortune that completely changed the equations between his two parents and also, as a public will later learn his mother's psyche as than woman.

Supbad is not a mug with fists and needs no protection. When she meets Surya after an interruption of more than a decade, she does not lose her breath by providing a recap. the benefit of the type. "12 saal ke update bandwidth nahi hai (I do not have enough bandwidth to tell you about the details of the past 12 years)," she says disdainfully. If that were not enough, she wonders why Surya came back in her life.

But when the worst happens at the worst, both are a great team. They fight an army of villains working for Jimmy (Gulshan Devaiah again), the evil twin of Mani, a psychotic villain straight out of the comics. He runs a security agency from an upscale business office, but his men are a bunch of nasty fighters. The brothers and sisters disagree because Jimmy took away a medallion that their father had left for Mani. Surya now wants to recover the legacy of her karate master, without worrying about the insignificance of the article.

Mard Ko Dard Nahi Hota is a tribute to the action films of the past – it is not a coincidence that the writer-director of the film and the mard of the title are geeks of genre films – so that its structure and unfolding inform itself with carefree, to take or give en bloc. All that Vasan Bala launches us in stylistic terms is reminiscent of something other than the audience of a certain vintage has already encountered. The overabundance of slow-motion sequences and the spiritual verbalisation of Surya's deeper thoughts may seem a little excessive sometimes, but it's what the film really consists of: not holding back. Mard Ko Dard Nahi Hota is an element of freshness that elevates him.

The past marks in another significant way the life of Surya and Supri. The residential building of the girl's childhood has been demolished and a redevelopment project is underway on the site. It is here and around this place that several violent clashes take place right from the beginning of the film, which begins with the hero who faces a group of villains then. " Ekk principal you are a miley dono is tarah. .. yeh toh hona hi tha "(from 1975 Khel Khel Mein ) provides accompaniment. The incongruity between the music and the image is an obvious part of Kunal Kulkarni's soundscape, retro, varied and wonderfully eccentric.

The hero and the movie are alike – they do things you least expect. Mard Ko Dard Nahi Hota is full of pleasant surprises, especially the way he turns the genre.

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