Tera Kya Hoga Lovely: A Hilarious Look at Colorism

What cost does a dusky girl and her family bear to secure her marriage? A significant measure of embarrassment and double the bridal gift, as Lovely (Ileana D’Cruz) and her kin endure in this societal satire. The film delves into the fixation of Indians with fair complexion and the challenges faced by a girl due to it, despite her being a principled and intelligent Ph.D. scholar in Anthropology.

Employing a conventional storyline, the movie from writer-director Balwinder Singh Janjua doesn’t pioneer new approaches in addressing colorism. Nonetheless, it presents a digestible social critique cloaked in an enjoyable, albeit prolonged, presentation. The script loses its precision due to an overflow of characters and circumstances. Yet, it remains engaging, eliciting laughter from viewers for the most part.

Despite the anticipated themes concerning inner beauty and the customary journey of love and family conflicts, the film’s allure lies in its unique Haryanvi essence. Amusing characters, with their indigenous humor and regional dialect, provide moments of genuine amusement, keeping audiences entertained.

Ileana D’Cruz shines as the lovable yet pragmatic Lovely. However, more attention could have been devoted to her dark makeup, which appears uneven and inconsistent throughout certain scenes. Randeep Hooda, portraying a rugged yet kind-hearted policeman, delivers a stellar performance. His grasp of Haryanvi mannerisms and comedic timing is impeccable. Pavan Malhotra as Lovely’s father, Meghna Malik as her aunt Suman, Karan Kundra as her confidant Guggu, and Geeta Agrawal Sharma as Sombir’s mother deliver commendable acts.

With a more concise duration, a fresher narrative, and a sharper script, “Tera Kya Hoga Lovely” would have made for a more compelling watch. Nonetheless, it succeeds in providing entertainment through its light-hearted humor and strong acting. If you seek a charming, rib-tickling romantic escapade, “Tera Kya Hoga Lovely?” might just fit the bill.