Madcap humor, an ensemble cast, and outrageous antics—this film banks on all of these to serve up a comedy of errors. Pagalpanti, directed by Anees Bazmee, brings together John Abraham, Anil Kapoor, Ileana D’Cruz, Arshad Warsi, Pulkit Samrat, Urvashi Rautela, and Saurabh Shukla in a slapstick comedy set in contemporary times. The movie is a classic, loud, and chaotic Bollywood masala film, designed to make audiences forget logic and surrender to pure entertainment. Set in London, the film’s storyline unfolds against the backdrop of lavish settings, action sequences, and the absurdity that comes with a comedy of errors.
At the heart of the plot are three men—Rajkishore (John), Chandu (Arshad), and Junky (Pulkit)—who are consistently plagued by bad luck. After an unfortunate business failure, they find themselves indebted to gangsters Raja Sahab (Saurabh) and Wi-Fi Bhai (Anil), two quirky mafia dons who dominate the city’s underworld. In their quest to settle their dues, the trio accidentally becomes involved in a heist that spirals out of control, involving a priceless diamond and a slew of comical misunderstandings. Alongside their misadventures are their love interests, Sanjana (Ileana) and Janvi (Kriti Kharbanda), who unwittingly become part of the chaos. The plot moves from one outrageous situation to another, as the characters try to outsmart one another, all while tripping over their own mistakes.
One of the film’s strongest aspects is its ensemble cast, particularly the comedic timing of Anil and Arshad. Anil, as Wi-Fi Bhai, steals the show with his eccentric, larger-than-life portrayal of a gangster who is more interested in tech jargon than in his criminal empire. His comic dialogues, delivered with deadpan seriousness, are some of the highlights of the film. Arshad, known for his impeccable timing, once again proves why he’s a staple in Bollywood comedies. His portrayal of the fast-talking, sarcastic Chandu brings much-needed energy to several scenes. John, often associated with action roles, steps out of his comfort zone and tries his hand at comedy. While his efforts are commendable, he seems a bit out of place in the over-the-top slapstick moments, and his deadpan expressions don’t always hit the mark. Pulkit and Urvashi, on the other hand, add their share of glamour and light-heartedness but remain largely underutilized.
From a direction standpoint, Anees sticks to his tried-and-true formula of absurd situations and convoluted storytelling, which worked well in his previous comedies like Welcome and No Entry. However, Pagalpanti lacks the cohesive spark that made those films memorable. The direction feels haphazard, as the film juggles too many subplots and characters without giving any of them enough time to shine. The jokes, while frequent, tend to lean heavily on slapstick rather than witty humor, and though some of them land, others fall flat due to over-reliance on physical comedy.
Visually, the film is a treat with its vibrant cinematography. The bright, colorful set pieces and lavish locations of London are captured beautifully by Sunil Patel. The movie’s high production value is evident in its elaborate sets and action sequences, which involve everything from car chases to explosions. While the action scenes add some excitement, they feel over-the-top and disconnected from the overall narrative, making them seem like they belong in a different film altogether. Nevertheless, the film is undeniably grand in scale, which compensates for its lack of tight storytelling.
The music by Sajid-Wajid and Tanishk Bagchi is peppy and upbeat, perfectly suited for a film like this. Numbers like “Tum Par Hum Hai Atke” and “Bimar Dil” are catchy and add to the energetic tone of the film, although they don’t have much staying power beyond their immediate foot-tapping appeal. The background score works well to accentuate the slapstick moments, though it can be a bit overbearing in emotional scenes that don’t require such dramatic sound effects.
The editing by Prashant Singh Rathore is a bit choppy, with abrupt transitions that sometimes disrupt the flow of the narrative. In a film where pacing is crucial for the humor to land, tighter editing could have helped maintain the audience’s engagement, particularly in the second half where the film tends to meander. The film’s length, clocking in at over two hours, feels a bit stretched, especially as the plot grows increasingly convoluted toward the climax.
The costumes, designed by Harman Kaur, add another layer of vibrancy to the characters. The mafia dons are dressed in flamboyant suits that exaggerate their personalities, while the protagonists and their love interests wear trendy, fashionable outfits that fit the film’s glamorous setting. The costume design works well in maintaining the film’s light, playful tone.
While Pagalpanti does not offer much in terms of depth or thought-provoking themes, it doesn’t try to either. It’s meant to be a fun, carefree ride where you leave your logic at the door. However, in comparison to other ensemble comedies, this one feels a bit disjointed. The humor is too reliant on exaggerated expressions and slapstick routines, which may not appeal to everyone, especially viewers looking for smart or witty comedy. The lack of a strong central plot also makes the film feel directionless at times, with characters bouncing from one situation to another without much continuity.
In conclusion, the movie is an entertaining ride for those who enjoy loud, over-the-top comedies filled with gags and eccentric characters. It shines in its comedic performances, especially Anil and Arshad, and the film’s high-energy music and visuals ensure it’s never a dull watch. That being said, it’s not without its flaws—uneven pacing, a scattered narrative, and a reliance on slapstick humor that may not work for all audiences. If you’re a fan of mindless comedy and enjoy films that don’t take themselves too seriously, Pagalpanti is worth a watch. Just don’t go in expecting logic or nuance.
