What's Good: The charisma of Rekhaji that remains unfaded till date. What's Bad: The Ekta Kapoor brand of severe melodrama that sappily preaches pretty farcical moralities that Indian society functions on. Topped with all of it is a lame film that gets comical unintentionally.

When you took that first step towards immortality in 1913, you must have wondered how Indian cinema would pan out 100 years down the line. We have stars nowadays, sir-the actors, they're called 'Stars'. However, ever so often, along comes a film that jolts me out of my cynical reverie. I am writing to you not only to lament the existence of this film, but as part of a therapeutic technique that might help me move on with greater resistance. Because, sir, this is a war. And we're on the wrong side.

Director Indra Kumar has revisited films like Khoon Bhari Maang, Biwi No 1, Baaghban and English Vinglish and made a goulash of them all to give us a film about women empowerment. All neglected parents, especially mothers, have to do to get noticed is to become supermodels. Grannies of the world unite, alright. Rekha plays a long suffering mother whom everyone, from her husband to children, treat like a doormat. She's reduced to having one-sided dialogue with the idol of Krishna in her house. The only one who knows her worth is her NRI grandson, Sharman Joshi, who transforms her into a diva overnight. She also reunites with her childhood friend (Anupam Kher), who is now the head-honcho of this numero uno ad agency. So grandson and old buddy unite to turn her into India's hottest TV model. She then goes onto display some tough love and teaches everyone who wronged her a lesson.

It is said that when director Indra Kumar was done shooting Super Nani he showed the first cut to few people. The decision was unanimous. He needed to rework and make it look better else the film was a goner. So he went back to shoot, re-edited and came up with the film he finally decided to release. And if people in his team are to be believed, the final result is infinitely better than what was shot earlier. Shudder!

Inspired by the Gujarati play 'Baa Ae Maari Boundary', 'Super Nani' stars Rekha as the lead. Helmed by Indra Kumar, it is a story of a woman who has been wronged by her own family. Unfortunately, the movie fails to evoke too many emotions as the audience has hailed it as being extremely melodramatic like the Bollywood of the 80s. Rekha, who plays Bharati Bhatia is taken for granted by her entire family, including her husband and her children. The rest of the story follows the change of perception by Bharati herself and how she overcomes her meek self into becoming an self reliant model who teaches a lesson to her family.

<strong>SUPER NANI belongs to Rekha!</strong><br/> After long, comes a family drama which every member of a family can enjoy in the company of each other. A complete family entertainer and a feel-good movie, although it offers nothing new. view more SUPER NANI videos Given the 'films' we have been subjected to, especially in the last two weeks, this stands head and shoulders above. A scheduled Diwali release would have certainly raked in the moolah for Indra Kumar and his team. That was a festive time with people willing to spend and a long weekend.

<strong>Super hammy</strong><br/> With Super Nani, that revolves around the most powerful character in Bollywood, the 'Maa', or as it is in this case, the 'Maa' ki Maa, director Inder Kumar seems to have attempted to show everyone how versatile he can really be. His last was Grand Masti, remember? So from 'teri maa ki...' territory to 'ek maa ki dastaan', Kumar's transformation has been noteworthy. There was a time in the 90s, during his Beta days when Kumar made it clear that yes, he knows a thing or two about social dramas. But unless one is making a period film, I wonder why would they cling on to the past? In terms of the story, the acting, the writing, costumes, music, production design and pretty much everything else one can think of, Super Nani is a trip down memory lane, the bad memory lane mind you, a time when we were not very proud of the cinema we were making. So then why revisit a traumatic past and take a veteran gem like Rekha with you?

If director Indra Kumar is to be believed, Ebola, AIDS, etc. are not really the diseases we should be fretting about. It is actually live-in relationships, the 'American bimari' that we must be panicking about. If you are not married and want to still live with the person you love, well you are a really, really bad person and Indra Kumar, who incidentally made sex comedies like Masti and Grand Masti not so long back, is so going to judge you.

With due respect to all the nannies, dadis, mummies and all avatars of a woman, Super Nani is a bad ode to the neglected female fraternity trapped in the four walls of a kitchen in the house. Super Nani should have been upgraded from the late 80's and 90's formula of making films to realize the importance of women in our society.

<strong>Super Nani is a tiring watch</strong><br/> Super Nani is not a period film but it sure feels like it is a product of the 1980s. It's hero, Bharti (Rekha), is the ideal, traditional Bhartiya naari. She cooks, prays and loves her family members unconditionally. Despite being a doting and nurturing wife and mother, she gets little in return. That's because her family is filled with members who would give the antagonists on saas-bahu TV shows a run for their money with their histrionics.

<strong>Rekha and Sharman Joshi's melodramatic film is unintentionally funny</strong><br/> As the movie hits the screens today, our reviewer, Subramanian Harikumar, is at the cinema hall right now. Here is what he has to say about Super Nani. The story revolves around an NRI filmmaker Sharman Joshi to comes to India to meet his Nani played by Rekha. But what he sees breaks him. He is deeply saddened by plight of his Nani as her husband, her children dont respect her, constantly take jibes at her. Rekha is reduced to nothing more than a kitchen handling maid. Then Sharman hatches a plan and encourages his Nani to enter the modelling world. How does Rekha transforms from a desi goodie goodie housewife to an independent woman, teaching a lesson to her husband and kids, forms rest of the story.

Bollywood films had and will always have its audience for every genre. There is something for everyone here. While the last week we saw the multi-starrer HAPPY NEW YEAR which was a visual extravaganza, this week will see the family drama SUPER NANI, a film which announces the 'comeback' of the ageless wonder cum diva Rekha, who will be seen in a central role after a long time. Based on the hit Gujarati play 'Baa Ae Maari Boundary' by Imtiyaz patel, SUPER NANI is about the protagonist who is constantly being scorned and taken for granted by her full family. This film is about regaining one's lost respect and that too in front of one's own family members. Will SUPER NANI find its place in the hearts of the viewers and will it be able to garner 'respectable' position at the Box-Office, let's analyze.

<strong>There is nothing to see</strong><br/> Within a second of the film starting, I was clutching my ears, looking for something to stuff them with: competing on pure decibel levels, 'Super Nani' beats everything I've seen recently hands down. Actually I could have done with shutting my ears, and closing my eyes. Because there is nothing to see. Not Randhir Kapoor, as Mr Bhatia- successful businessman, super-boorish husband- whose favourite line to the much put-upon Mrs Bhatia, arm flung out like Hitler, is: go back to the kitchen!

Story: A sixty-something selfless grandma is worth as much as a kitchen mop to her selfish family. But her foreign-returned grandson transforms her into a woman of substance, in Pygmalion style. Review: A progressive thought on women's empowerment is presented in the most regressive movie plot in Super Nani. Bharti Bhatia (Rekha)'s NRI grandson, Mann (Sharman Joshi) who gets his tenses mixed up when he speaks Hindi (unfortunately, that is meant to evoke laughter), arrives in India, without any bags, to see his grandma!

A preachy and mawkish drama about a woman neglected, scorned and tormented by her own oafish family, Super Nani makes its pro-women's empowerment statement with the finesse of a bulldozer run amok. Adapted from a Gujarati play (Baa Ae Maari Boundary by Imtiaz Patel), Super Nani crams in all that was obnoxious in the worst Bollywood melodramas of the 1990s. The dialogues are cringe-inducing, the acting is abysmally bad, and the narrative is riddled with laughable situations that have clearly been bunged in simply to heighten sympathy for the doormat who lets all and sundry trample all over her.

<strong>Super Nani is Super No No!</strong><br/> Super Nani is called Super Nani because a submissive housewife, (Rekha) prodded by her US-based grandson (a soppy Sharman Joshi speaking in a terribly fake NRI accent), reinvents herself as a glamorous diva to teach her thankless family a lesson in gratitude and humility. While braving this outmoded farce, directed by Indra Kumar and starring Rekha in the title role (and the only reason anyone would even bother), I thought of many other befitting titles it could have opted for.

<strong>It is loud, badly planned and lousily executed</strong><br/> Indra Kumar, the director of Dil, Beta, Raja, Masti and Grand Masti, is back with his latest film Super Nani and it seems he is still stuck in the '70s. Despite having a thought provoking climax, the film gets reduced to a collage of tacky family dramas of Nutan-Mena Kumari era. Interestingly, the film has an entire 20 minute sequence that pays homage to yesteryear heroines. However, all this happens in such a manner that the audience starts feeling trapped inside a saas-bahu soap.