Bhool Chuk Maaf Movie Review: Rajkummar Rao repeats himself in the same-old small-town comedy
The film takes time to set the ball rolling. About forty minutes in, we were still sitting through Ranjan trying to arrange money to buy a government job. Often, I felt like Bhool Chuk Maaf was two loose narratives pulled to their limits and tied together: a toothless commentary on the country's unemployment problem and a lagging loop-comedy. The time-loop theatrics felt like a garnish, done only to spice up an otherwise routine tale. There is no inventiveness or ingenuity. To get out of his predicament, Ranjan does everything that every other protagonist of a small-town comedy has done, what Bala from Bala did to grow his hair, or what any other Ayushmann Khurrana character did to solve his bodily incapabilities: pray at a temple, feed gau mata, and see a tantrik. Even in a montage, these images feel dated, a drag. Ah, here we go again.
The Banaras setting also adds to the exasperation. The protagonist's father will get drunk with his friends by the ghats, which is Bollywood's version of showing a progressive parent. The hero and heroine will romance in a flower market to a song which you will forget the next minute. Bhool Chuk Maaf often spreads in multiple directions, trying to find something to latch on to in order to reach its climax. The only amusing bit is when Rajkummar goes saccharine, being nice to everyone he sees, apologising for the minutest of mistakes, and being an embodiment of the adarsh balak (ideal boy) meme. With the rest, Bhool Chuk Maaf felt like a déjà vu, it has all happened before: these ghats of Banaras, these accented wisecracks, these actors who act like they were born to be sidekicks. It's a rerun.
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