When it comes to light satirical comedy, Priyadarshan’s reputation is extremely noteworthy: HERA PHERI, HUNGAMA, HULCHUL, and GARAM MASALA. Similarly, you anticipate this film, MALAMAAL WEEKLY, to satisfy the viewer’s expectations. Malamaal Weekly is the tale of a town called Laholi, where the Thakurani (Sudha Chandran) and her sibling Baje (Rajpal Yadav) pester the poor locals, all of who are under her obligation.
Lilaram (Paresh Rawal), who sells tickets of a lottery called Malamaal Weekly, sells the Rs 1 crore-winning ticket to Anthony Fernandes. However, Anthony dies after sharing his ticket details with the lottery company. Lilaram discovers that Anthony, the winner, is dead. So he attempts to take the ticket. All the while, Balwant (Om Puri) the milkman, additionally discovers the mystery and tries to get a share from the profit. Lilaram and Balwant conceal Anthony’s dead body, however, Kanhaiya (Riteish Deshmukh) sees them, and requests for a share too. Before long, the whole town knows the mystery, and ask for a share. But the biggest problem arises when the town people have to hide this truth from the local police (Arbaz Kahn).
Even though the plot sounds decent, the execution is horrendous. The film appears to have been extended unendingly; the jokes are flat and absurd, and loud exhibitions by the entire cast – including Paresh Rawal and Om Puri. Perhaps, the entire thing made the film a no-show. Paresh Rawal, who has turned into an apparatus in Priyadarshan’s film, has played an average role here. Furthermore, we wonder why his teeth are so filthy – no clarification is given as such. He has delivered some of the best dialogues in this film, yet this satire does not bring too many laughs for the audiences.
Furthermore, Malamaal isn’t without flaws. Rawal is the only learned person in the town, even though he scarcely has any grey cells. Yet, a similar individual all of a sudden thinks of smart plans of how to discard the body, divide the cash.
However, the film has nothing worth commending. Filmmaker Priyadarshan, has given many great films before, yet this film sorely failed. Priyadarshan draws motivation from R.K. Laxman’s MALGUDY DAYS this time. Even though the reason of MALAMAAL WEEKLY is intriguing and the film unfurls at a quick pace, the issue lies in the way that Priyadarshan consolidates numbers of tracks with the main plot and to do justice to every sub-plot, the film becomes one lengthy exercise.
Priyadarshan takes a similar course that he embraced for his past works, which means toss rationale to the meaning throw logic to the winds, leave your brains at home and don’t wear your thinking caps while watching the film. What’s more, however, various arrangements have that indisputable stamp Priyadarshan is celebrated for, the fervor is shortlived. Somewhat because the pointless tracks toss a spanner and halfway because of the unreasonable length.
Music – there’s only one song in the film [filmed on Raakhi Sawant] – and it’s averagely fine. Cinematography [Sameer Arya] is of standard. Dialogues are the highpoint of the venture. Truth be told, a couple of jokes have the expected punch to make the ideal effect. The film can without much of a stretch be cut by 15-20 minutes.
All in all, MALAMAAL WEEKLY is a good film to watch. Talking about my experience, I’ve watched Malamaal Weekly many times. It has moments, yet insufficient to make an enduring impression or convincing one for a continue seeing.