Filmmakers know that Nirmiti Sawant, Kushal Badrike, and Lalit Prabhakar are names enough to bring audiences to the theatres or make people watch the movie on TV or laptops. Did that make them not focus much on the story, or did they edit out the most important parts? Because something felt missing. What was that? The detailing. We have seen such stories before. The plot was still interesting enough to keep the audience hooked, but what comes out of the chaos is what would have made this film stand out.
When a real estate broker sells the same flat to two families—one, a joint family struggling financially that had to move to the city to look for opportunities to make money, and two, a live-in couple who have no one else in their lives apart from each other. Now, how the couple finds family in this joint family and how this couple helps the joint family that has never been to the city before navigate city life while developing a bond, yet tries to keep their distance as it’s now a legal case, was a plot with the recipe for massive box-office success. Why couldn’t that happen? Because the writers focused on comedy.
Having said that, Super Duperr could have still been a comedy, but a circumstantial and situational comedy rather than what it has turned out to be now, where you hardly feel like laughing at whatever’s transpiring on the screen. The film, towards the end, does deliver what the audience expected it to deliver—a bond between two families who have been fighting each other all the while—but then suddenly, it doesn’t feel convincing or bring warmth to the screen. It somewhat looks filmy and forced.
Marathi writers and filmmakers are pros at balancing comedy and intensity together very well. But Super Duperr, unfortunately, couldn’t do it.
Language: Marathi
Where to Watch? Zee5
