Shashank Khaitan’s Govinda Naam Mera is an out-and-out masala potboiler, and it does not pretend otherwise. Laced with outlandish outfits, inspired equally by the Govinda era of the 1990s and Punjabi pop videos and with a wife-husband-girlfriend Bollywood concoction, the film could have been a fun ride, but it does not land.
While it may look like just another version of good ol’ Pati, Patni Aur Woh (1978), the 131-minute film is more along the lines of Priyadarshan’s Bhagam Bhag (2006). Starring Vicky Kaushal, Bhumi Pednekar, and Kiara Advani, Govinda Mera Naam is currently streaming on Disney+ Hotstar. It’s the script that fails the film.
The plot revolves around Govinda Waghmere, a choreographer – played by Vicky Kaushal – who is looking to sell his ancestral house. He is stuck between his dominating wife Gauri (Bhumi Pednekar), his loud and exaggerating mom (Renuka Shahane), and his girlfriend Suku (Kiara Ali Advani). Things take a turn when Govinda gets embroiled in a situation that involves a dead body. The film is like an extended version of multiple gags, with no cohesion.
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Same-old goofy characters
Vicky Kaushal is in top form, almost reminiscent of his ‘DJ Sandz’ act in Manmarziyaan (2018). He shows every emotion without a glitch, and you find yourself siding with him from the get-go.
It is also refreshing to watch him do a masala film. Bhumi has played the misunderstood wife for the second time now, after the 2019 film Pati, Patni aur Woh. She does not get to do much but holds her own in whatever scene she appears in. Same goes for Kiara who has more screen time and lines but does not have to do much, except look stunning.
Renuka Shahane probably generates most of the laughs. She is as convincing as the second wife who wants to retain the possession of her husband’s bungalow. And to achieve that, she has confined herself to a wheelchair for 15 years. It parallels Kirron Kher’s over-the-top performance in Om Shanti Om (2007).
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A one-time watch
Despite having a lot of potential, the dialogues fail the performers time and again. There is also the issue of male gaze, particularly in the portrayal of Suku’s character and the way the camera pans on her. The songs are all well-executed, but they do not add anything to the film per se.
There is a sense of social commentary or criticism of the way Bollywood treats struggling actors or newcomers. But it barely scratches the surface. There are cameos by Ranbir Kapoor, and also Dayanand Shetty of ‘Inspector Daya’ fame of the 90s TV series of CID.
Govinda Naam Mera carries the stamp of Khaitan’s earlier films, Humpty Sharma Ki Dulhania (2014) and Badrinath Ki Dulhania (2017), and will make for a good one-time watch without needing to use your brain much.
What costs the film’s enjoyment is the predictability of the murder mystery trope. You might guess what transpires as it is not really a well executed whodunnit. It is fun, absurd, and predictable.
(Edited by Tarannum Khan)