There are a few movies that don’t require any kind of analysis or deserve appreciation. If there was a film tailor-made to fit the aforementioned category, it has to be the fourth installment of the Housefull franchise.

Harry, Roy, and Max (Akshay Kumar, Riteish Deshmukh, and Bobby Deol) run a haircutting salon in present-day London and they owe £5 million pounds to a gangster. They’ve lost that money because of a stupid goof-up (Goof-ups are stupid by themselves; imagine a stupid goof-up).

To pay him back, they ‘plan’ to lure three sisters belonging to a rich family. Why three sisters you may ask? Looks like, they wanted to make the match-making process easier and quicker. Now, it was evident that the film had no plotline and no efforts were made in the writing department. I had no option but to brace myself for the upcoming cringe-fest unfurling in the next 2 hours.

After they ‘poach’ the three gullible ladies, they plan a destination wedding in Sitamgarh. This wedding takes place in a heritage resort which, to be honest, is quite picturesque. Harry gets reminded of his past looking at the majestic buildings and we’re transported to Sitamgarh in the 13th century for the customary flashback.

That flashback was nothing but a parody of all historical movies ever made. Who asks you to step aside by uttering, ‘Side please’, in 1419? This production house made a completely mindless film with zero research. This was the same unit which gave us films like 2 States and Highway. 

Raja Gama, played by Rana Daggubati, tries his best to keep the audience in the theatre but the script is so one-dimensional and preposterous that his performance doesn’t get registered at all. This film would’ve been less torturous had they given more precedence to his character. They screwed it up and allotted more priority to so many meaningless characters.

Every male lead in the story has an interesting back story and decent character arcs (ONLY in the flashback). The female leads? You guessed it right. Absolutely no information about them. It’s like Farhad Samji expected us to have known more about the princesses because they’re drop-dead gorgeous. They’re the princesses of Sitamgarh and that’s the only information you have about them. That’s almost the same case with present-day sequence too.

The second half revolves around how the couples manage to find their right partners and reunite. The premise of the story is brilliant and with a good writing team, this film could’ve done wonders. Also, consider that it released on a Diwali weekend and how positive word-of-mouth could’ve generated more revenue. This film is a standing testimony to a simple fact – you may have an ensemble cast and a world-class technical crew but if you falter in the scriptwriting department, it’s no good.

I don’t even want to talk about Nawazuddin Siddiqui’s cameo as his name doesn’t deserve to get associated with the Housefull franchise. It feels like his appearance was just to get some woots’ from the audience by repeating the hugely popular monologue from Sacred Games – Kabhi kabhi lagta hai apun hi bhagwan hai. It was skewed around a bit and the resulting output was a badly modulated version of the once-iconic monologue.

A positive about the film can be the opulent set-pieces created in the flashback sequence. Appreciation about this film reserves just two lines on my article though. Nothing more than that.

There were people leaving the theatre at regular intervals. It was very tempting to say the least but I had a job to do and that’s the only reason I stuck around till the climax. When I finally rushed towards the exit after the end, I was waiting to pour down all these thoughts on my laptop and forget all the memories about watching the film.


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