Intlo Srimathi Veedhilo Kumari Reviewby MyMazaa.com
Comedy of errors is a favorite theme of Indian film-makers. Every fourth film is on that essential theme. Some work. And some doesn't. Intlo Srimati Veedhilo Kumari falls somewhere in between. The film has its moments. But somehow that is not adequate.
A remake of the Hindi hit Hungama which itself is a take off on a Tamil and Telugu movie (Thangamani Rangamani and Rao Gari Ammai respectively), the film is all about the confusion owing to the same name and the suspicions thereof.
Gopal (Prabhu Deva), an aspiring musician, and Anjali (Arti), on the run from her house, pose as husband and wife to get a house on rent. Sukumar (Srikanth) is a electronic shop owner mistakes Anjali to be a millionaire€™s daughter and offer her job. Elsewhere, there is also Sundara Murthy (Praksh Raj), an industrialist who comes to the city because of his nagging wife. As it happens, she is also named Anjali (Urvashi).
With both Sukumar and Gopal in love with Anjali and Sundara Murthy€™s wife suspecting him to be in love with the other Anjali too, there is confusion galore. To add to the mess, Sundara Murthy thinks that his wife is having it with Sukumar. It is all one big confusing maze till the climax where every tight knot unfolds itself conveniently.
It is a story that has been seen many times over in Indian screen. But still has a lot of appeal.
As far as acting goes, there is little scope for any great show of histrionics and almost all of them acquit themselves pretty decently. Prakash Raj and Urvashi, however, go over the top on a couple of occasions. Arti is competent and looks like somebody who can be molded effectively. For Prabhu Deva and Srikanth it is a romp.
The music and other technical departments are just above average. But that may be more due to the director€™s fault. He has not taxed anyone ----including himself. He has faithfully struck to Hungama€™s script. K Vasu, on the evidence of this film, lacks the skill to handle such subjects with finesse. There is a thin line dividing comedy and confusion. He lets the film slip into the latter stream.
A comedy of errors ends up as comical errors.