“Bhool Chuk Maaf,” the latest addition to the ‘Maddock-verse’ (a moniker for movies helmed under the Maddock Films production house) follows the day in the life of groom-to-be Ranjan (Rajkummar Rao). It’s to be a day he is forced to relive after he accidentally finds himself stuck in a time loop.
While the meat of the matter in “Bhool Chuk Maaf” is interesting and makes for a unique concept, its execution might leave fans of this movie—or the time loop genre—wanting more. The film explores its setting well, that of a man unable to mysteriously advance beyond the day of his Haldi ceremony (a pre-wedding ritual). It also makes for a rare foray into the time loop genre. However, the Bollywood flare might leave viewers and fans of this genre wanting more, particularly a tepid first half that loses steam and the audience’s attention due to uninspired writing and uneven pacing.  Unnecessary and unmemorable song and dance routines further chew up the run-time. The storytelling is also ‘déjà vu’, i.e. stale and uninspired.
A Slow First Half Dents the Film
“Bhool Chuk Maaf” occasionally picks up in portions—post the slog of a first half—especially an engaging and amusing second half. It begins to blend sci-fi and superstition quite well through Ranjan’s desperate interactions with conniving spiritual gurus or pandits, one of whom is literally named Bhagwan (transl: God). They all of serve as middle men and promise him shortcuts to happiness and success, in exchange for a pricey ‘Guru Dakshina’—a cash offering.
While the film’s humour may not be as on par with the wit of “Stree” (a movie that spawned a beloved Bollywood horror comedy franchise and catapulted Maddock to new heights), a few gags and one-liners allow the film to work. An example of such is an amusing scene involving an apologetic Ranjan praying away his bad karma by asking for forgiveness from a pat of cow dung, which elicits chuckles. The ‘rhyming jokes’ and wordplay incorporated into dialogues as Ranjan explains his dilemma to his fiancée’s befuddled relatives are also well written, albeit sparse. Another highlight includes meta humour which is a staple of Maddock offerings, such as a throwaway joke of Ranjan claiming to be the Chosen One. This is a clever dig at the saviour complex of Vicky, a character from the “Stree” franchise, also played by Rajkummar Rao, the male lead of this movie.
Despite high expectations, “Bhool Chuk Maaf” eventually falls short.”
Apart from an interesting main character (the indecisive Ranjan who backtracks on marriage, job, and prayers yet still expects success without effort), “Bhool Chuk Maaf” also features a handful of supporting characters who are equally eccentric. Ranjan’s interactions with his clueless friends who attempt to make sense of his situation especially mirrors the charming bromance in the underappreciated Tamil movie “Naduvula Konjam Pakkatha Kaanom.” That film isn’t a time loop flick, but does feature a similar concept of a groom ‘stuck in time’ after suffering a bout of amnesia.
‘Bhool Chuk Maaf’ Comes Around, but Lacks Important Elements
Rajkummar Rao, a Maddock mainstay who has fine-tuned his comic timing playing similar likable small-town goofballs under the banner’s previous outings or in Raj-DK’s web series “Guns and Gulaabs” is bankable in the role of the desperate Ranjan. Rao doesn’t waste time in convincing viewers with his compelling performance and witty improvisations. On the contrary, co-star Wamiqa Gabbi is a weak link and miscast as Titli, the frustrated bride, appearing far too whiny with her voice inflections. The film’s writers also under-develop her character. Titli is superficial with strong shades of cloying, and it’s hard to warm up to her as the movie progresses. Rao and Gabbi are a mismatch, sharing little to no chemistry, and as a result, it is difficult to feel emotionally invested in the central romance.
Alas, a promising second half, a funny and familiar male lead, as well as a few supporting performances just aren’t enough to merit a rewatch. Despite high expectations, “Bhool Chuk Maaf” eventually falls short, coming across as disjointed and underwhelming. It lacks all the qualities that made previous Maddock outings click with the audience. Those other films had a genuine sense of attachment to its characters and incorporation of the setting for better situational comedy, as well as well-timed musical interludes enhanced by chemistry between the leads. But above all they had what “Bhool Chuk Maaf” lacks: a taut, absorbing screenplay and fresh storytelling.
