In a subcontinent persistently blinded by faith, Karan Sharma’s Bhool Chuk Maaf smells of flowers and incense. Everyone has a reason to pray. For our leading man, Ranjan (Rajkummar Rao), it’s the elusive government job he desperately seeks – one that slips through his fingers, partly due to his lack of skill and mostly because of rampant corruption. He also dreams of marrying the feisty Titli (Wamiqa Gabbi), whose rebellion fades the moment her patriarchal father raises an eyebrow. For her family, no other qualification matters beyond a secure government post. So, what lies ahead for the couple?
Based in Varanasi, Bhool Chuk Maaf is a template small-town comedy with all regular fixtures in place. The colour grading is high on vibrance, the frames of the city are less real and more travel blog-like, and everyone’s religious and loud. There’s an attempt to induce laughter in the first act, but it falls flat. A barrage of bland songs follows in quick succession. Sharma’s film is so drenched in déjà vu that you wouldn’t miss a thing if you dozed off for twenty minutes.
The film gets interesting at the interval point as Ranjan finds himself trapped in a time loop, reliving the day before his wedding over and over again. Bhool Chuk Maaf instantly perks up as Ranjan starts investigating this strange phenomenon.
Here, Karan Sharma blends the everyday realities of life in North India’s temple towns with a fresh, high-concept idea. We witness chaotic weddings, toxic family ties, corruption, unemployment, and religion bound by classic Bollywood tropes. Yet beyond the novelty of the twist, Bhool Chuk Maaf refrains from offering a meaningful takeaway. Instead of questioning the grassroots-level problems that fuel these issues, the film wants to gift its hero an angelic halo. As expected, the guy wins over the girl and her family, but still sticks out in a film that doesn’t know its message.
In a stronger film, the writer might have emphasized the need for a merit-based society or addressed the urgency of uprooting corruption. There’s also a fleeting angle on poverty and community service, but the film fails to explore it effectively. By the time it ends on an utterly random note, Bhool Chuk Maaf inexplicably elevates the enabler of corruption (Sanjay Mishra), forcing the victims (Ranjan, Titli, and their families) to look to him for wisdom.
ALSO READ: ‘Hum Do Hamare Do’ review – a striking lead cast elevates a film on familial bonds
The biggest saving grace is Rajkummar Rao, who gives his best in a genre that’s child’s play for him. Wamiqa Gabbi, in her first conventional heroine role, gives it her all, but ends up oscillating between being annoying and annoyed, without ever finding much nuance.
Running for over two hours, Bhool Chuk Maaf could easily have worked better as a 30-minute short film. Karan Sharma overburdens the narrative with excesses that sap its energy. While Rao and the humour in the second half make it a watchable film, the writing on the wall is clear – the safe formula of small-town comedies needs serious reinvention.
Rating: ★★ 1/2
Bhool Chuk Maaf is now streaming on Amazon Prime.
