Sab Kushal Mangal movie star cast is Akshaye Khanna, Priyaank Sharma, Riva Kishan, Satish Kaushik, Supriya Pathak Karan Vishwanath Kashyap directs Sab Kushal Mangal movie.
Sab Kushal Mangal’s movie critic rating is 1.5 stars.
How would you make a satire out of a malignant social practice still pervasive in pieces of Bihar?
‘Jabran vivaah’ results from hundreds of years of male-controlled society and can be profoundly out of line, both to the man of the hour. Who is captured and persuasively offered? Just as to the unfortunate lady. For whose apparent government assistance this act is being led.
This doesn’t seem right. It roars Pappu Mishra (Sharma) of Baba Bhandari (Khanna), the thug in-boss liable for the capturing. ‘Kisi ablaa ka ghar bas jayegaa, tumhe isse pareshaani hai kaa,’ answers Baba.
For one thing, you can’t go around marking ladies ‘ablaa’ anymore, not if you need us to pay attention to you.
Mandira (Kishan). The bride-to-be looks fit for the battle with herself.
The film breaks out of an uncomfortable wreck by an invention, and attempts to control delicacy by making Baba, the nearby country person, succumb to the very young lady he has ‘uthwaaoed.’ Presently, what?
The scholars attempt and join together a comic yarn by throwing Pappu, Mandira, and Baba into a sentimental triangle. However, everything appears to be a long, capricious trudge.
Pity because both debutants (she is the little girl of Ravi Kisan, he is the child of Padmini Kolhapure, both strong entertainers) have a sure presence. Also, Khanna, lips distinctively tightened, carrying between humble community hooligan decked out in white-on-white-gasp shirt. A made-over metro type urgently attempting to taste dark espresso laugh uncontrollably clever in spots.
Lucky man capturing, recently investigated in 2019’s Jabariya Jodi, drives the plot in Sab Kushal Mangal. There’s wind here, one that procures the most extreme profit in a regularly lopsided parody: the ruffian succumbs to his customer.
Vocation criminal and government official Babu Bhandari dragoons scholastically qualified men into wedding ladies whose families can’t stand to pay a share. It isn’t social help. However, Babu (Akshaye Khanna) has persuaded himself that he works for the more noteworthy regular great.
TV correspondent Pappu (Priyaank Sharma) accepts that Babu’s action plan sabotages the option to pick. Pappu rails against Babu on his TV program, and Babu gets his opportunity for vengeance when Mandira’s family can’t hack up the necessary endowment for a match. It is snatched and concealed away. When an inquisitive Mandira understands that Pappu is someone she liked in school, the sparkles fly.
Before Babu looks at Mandira, he chooses to enter the marriage market himself. Regardless of that, he is boundlessly more seasoned and has a sweetheart. He is declining to wed Babu is stricken. While Pappu and Mandira should keep their brains about them on the off chance, they are joined together.
Sab Kushal Mangal squanders a lot of energy on its unacceptable leads.
Directed by chief Karan Viswanath Kashyap and entertainer Brijendra Kala. Both of whom are posterity Bollywood ability (Riva is Ravi Kishan’s little girl. While Priyaank is the child of Padmini Kolhapure and Tutu Sharma). Mandira doesn’t precisely have the heart-halting charms that would influence an accomplished gent like Babu Similarly, Priyaank isn’t heart-pulsate material.
It takes the remainder of the more experienced cast to drag the 132-minute Hindi heartland parody to the end goal. Satish Kaushik is a shout as Pappu’s hapless dad, while Ishtiyak Khan is additionally engaging as Babu’s stupid handyman. The greatest fun is watching Akshaye Khanna. Exciting the generalization of the Uttar Pradesh criminal-lawmaker. Khanna’s Babu breathes life into the film at whatever point he shows up. Which isn’t as regularly as it should have been. His nonappearance is woefully felt.
Babu’s endeavors to change himself into a metrosexual have their minutes. His self-respect is put on point in a satire that is extended quite a lot. A portion of the exchange by Brijendra Kala is exceptionally creative. The stop-start wackiness conveys. When it is permitted to interfere with the unnatural and unengaging sentiment.