Pati Patni Aur Woh movie review: Just another remake with Kartik Aaryan doing his thing

In 1978, Sanjeev Kumar's Ranjeet, in 'Pati Patni Aur Woh', spins a web of lies to lure his secretary, played by Ranjeeta, into an extra-marital affair. He gets away with it, because his wife, Vidya Sinha's Sharda, gives in to his apology. Because, that's what men do -- make mistakes, and get away with it. And women? They forgive, and gradually, forget. Naive and innocent womenfolk of the yore.

The flavour of infidelity in 2019 is similar -- with a few changes. Women are a bit more evolved, and are equipped with some wit. So whem Bhumi Pednekar's Vedika catches Kartik Aaryan's Chintu Tyagi red-handed, she doesn't wait for an apology. She, instead, spins another web of lies.

Unlike Sharda, our Vedika has been given some agency -- over her mind, and over her body. She doesn't give in to her in-laws' demand of a child even after three years of marriage. She is driven by ambition and by a desire of a better life (read: the modern life of Delhiites). And she often reminds her husband of her desires. These desires include liking sex too -- because, how else can a woman be declared modern?

The other big difference in Mudassar Aziz's 'Pati Patni Aur Woh' is it doesn't show the "Pati" in an entirely innocent light. He is flawed -- stuck on an old girlfriend who left him without closure -- and he accepts it.

I say "not entirely", because by the end of the film, when you are starting to revel in the glory of a 2019 movie, you are again sucked into the 1978 universe, where it's but natural for women to forgive and forget the husband -- even after shaming him at the airport.

The "Woh" of both universes are docile, too naive to fall into the trap of white lies, and too nice to not question the "Pati" for his infidelity. Because, grace.

Kartik Aaryan yet again plays a role that borderline glorifies male victimhood. The only difference is the victim here has moved from Mumbai/Delhi to Kanpur. He -- yet again -- gets a chance to spew venom against women in a monologue (yes, the one that rammed into a controversy with the release of the trailer).

One cannot help but notice a kind of unidimensional-ity in all characters Kartik has played -- the oppressed caste of men. I went to watch the movie expecting a slight, if not great, development from what we saw in 'Pyaar Ka Punchnama', or 'Sonu Ke Titu Ki Sweety', but Chintu Tyagi followed the same graph as that of Rajjo, Gogo and Sonu. Because, who likes change?

Oh no, wait. There is change -- in the way he looked. There's a moustache. And oiled hair -- both of which vanish in the course of climax.

Ananya's Tapasya (you see the mythological connection here?) has one single expression throughout the movie -- making her the second-weakest link in the movie. The script will remain the winner.

Tapasya can be seen clad in salwar kameez in the course of climax. Because, what is love if it doesn't make you wear ethnic clothes?

As Vedika mouths "pativrataayein old-fashioned ho gayi hain. Abb kultaaon ka zamaana hai," she is clad in a western dress. Because, what is an Indian movie without connecting perversion with the West?

You get my point now? You do. Right?

Mudassar Aziz's 'Pati Patni Aur Woh', in its quest to plaster the wrongs the 1978-original committed, and debunk sexism, enforces more stereotypes. So much so that you predict the climax and the proverbial next scene even before the premise is laid out.

The film starts slow and takes more than usual time to spread out its premise. And since, its characters are templatised versions of a bored husband, a spunky wife, and an innocent "other woman", the lapse is more than taken care of.

The only saving grace of the film is Aparshakti Khurana and his portrayal of a supportive, loyal friend -- Fahim Rizvi. His one-liners stand out, and the way he delivers them makes you wonder when we'd be able to see him as the lead.

The other nicety about the movie is the comedy -- it is situational, and doesn't rely on cheap jokes. The dialogues in the movie -- particularly that evoke the political scenario in the state -- generate the much required laughter.

Kartik Aaryan sinks his teeth into Chintu and churns out an almost-Govinda-esque humour in a few scenes. Bhumi effortlessly slips into a character practically unbeknownst to her, and hence, one can see a little mismatch too.

There's Sunny Singh too in an impressive cameo. And Kriti Sanon in a guest appearance.

The music of 'Pati Patni Aur Woh' includes remakes of several popular tracks -- Govinda and Raveena Tandon's 'Akhiyon Se Goli Mare' and Tony Kakkar's 'Dheeme Dheeme'. Because, what's a remake without refurbished songs?

The original track 'Tu Yaar Mera' is far better than the above-mentioned versions.

In 'Pati Patni Aur Woh', Mudassar Aziz had had a chance to carry his 'Happy Bhaag Jaayegi' streak a little forwad and dole out a genuine comic relief. He, instead, resorts to the most hackneyed idea of sexism and stereotypes, and presents a modern concoction of infidelity and life-lessons in the garb of "a modern take on relationships" -- it is so not.

Do not watch 'Pati Patni Aur Woh' if you expect a 2019- and feminist- version of the 1978 OG film. It's a been-there-seen-that take on BR Chopra's classic with a little more detailing. Watch it, instead, to see Kartik Aaryan do his thing, for Aparshakti Khurana's superlative performance, and for some genuinely funny moments.

IndiaTVNews.com verdict: One-time watch -- 3 stars