{"id":4395,"date":"2016-04-04T17:04:23","date_gmt":"2016-04-04T11:34:23","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4395"},"modified":"2026-07-17T21:03:31","modified_gmt":"2026-07-17T15:33:31","slug":"mard-ko-dard-nahi-hota-vasan-bala-retro-films","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4395","title":{"rendered":"Mard Ko Dard Nahi Hota Review: A Delightful Reminder of Why We Keep Going to the Movies"},"content":{"rendered":"\n

S<\/span><\/p><\/div>

even years ago, writer-director Vasan Bala\u2019s unreleased directorial debut, <\/span>Peddlers <\/span><\/i>chronicled the lives of <\/span>destitute<\/span><\/a> boys who found themselves trapped in Mumbai\u2019s drug trade. If that was a film which trained its gaze on the destruction of innocence, then <\/span>Mard Ko Dard Nahi Hota<\/span><\/i> \u2013 Bala\u2019s hyper-enthusiastic debut release \u2013 does the exact opposite. It tells the story of a boy who goes to unimaginable lengths to protect his innocence. <\/span>\n\nAt its core, the kooky martial arts action-comedy is a movie about finding an escape from unresolved pain. <\/span>Mard Ko Dard Nahi Hota\u2019s <\/span><\/i>hero, Surya, (Abhimanyu Dassani) is a 21-year-old fighter afflicted with a medical condition \u2013 \u201ccongenital insensitivity to pain\u201d \u2013 which is also an odd superpower. And yet, he spends most of his life struggling to process the grief of being unable to save his <\/span>mother<\/span><\/a>, humoured by the over-protectiveness of his grandfather (a delightful Mahesh Manjrekar).<\/span>\n\nJimmy, the film\u2019s \u201ccliche psychotic villain\u201d (a freakishly entertaining Gulshan Devaiah) feels betrayed by Karate Master Mani, his talented twin brother (an unrecognisable Devaiah) for a past misstep. So he dedicates his adult years to manufacture opportunities to troll Mani \u2013 like mocking him for being a \u201cKamal fan instead of a Rajini fan\u201d through a video call from a bathtub filled with rose petals or stealing a chain that means the world to him. The one-legged Mani, on the other hand, has guilt holding him down for betraying his <\/span>brother<\/span><\/a>, so he tolerates Jimmy\u2019s eccentricities. And Supri (Radhika Madan), Surya\u2019s childhood sweetheart, is in denial about feeling caged all her life, letting the responsibilities of life defuse her liveliness.<\/span>\n\nBut sit with the infectious Bollywood parody that unfolds in Matunga, for a few minutes and it reveals even more layers. <\/span>Mard Ko Dard Nahi Hota <\/span><\/i>is at once an affectionate paean to <\/span>childhood<\/span><\/a> dreams without any filters of practicality as well as a tender tribute to a life spent at \u2013 and elevated by \u2013 the movies. It\u2019s also a towering accomplishment of crafting a delectable Mumbai-bred vigilante origin story that mines the comic aptitude of the city, in a way that <\/span>Bhavesh Joshi: Superhero <\/span><\/i>hardly managed to achieve. <\/span>\n\n

Just like Angamaly Diaries, Local Kung-Fu, and One Cut of the Dead, Mard Ko Dard Nahi Hota manages to replicate a wildly playful irreverence.<\/p><\/blockquote> \n\nAlmost every frame of <\/span>Mard Ko Dard Nahi Hota<\/span><\/i> is a treasure hunt of retro movie references, especially to Hong Kong cinema. Surya grows up with an incurable appetite for martial arts movies, giving Bala a chance to present a breathless cinematic reel, from Manmohan Desai (<\/span>Mard<\/span><\/i>) and Robert Clouse (<\/span>Gymkata<\/span><\/i>) to Prayag Raj (<\/span>Geraaftar<\/span><\/i>) and Alex Proyas (<\/span>The Crow<\/span><\/i>). Bala isn\u2019t the first <\/span>director<\/span><\/a> to tip his hat to his favourite genre moments in his own movie and neither will he be the last. But what stands out is how <\/span>Mard Ko Dard Nahi Hota <\/span><\/i>modernises these stylistic homages \u2013 it doesn\u2019t make them inaccessible or come across like an inside joke between hardcore fanboys. Instead it operates like a passionate recommendation \u2013 a cinephile lovingly passing down his film education to as many people as he can.<\/span>\n\n\"mard_ko_dard_nahi_hota\"\n

\n

There are times when the movie indulges itself: some hilarious sub-plots and dialogues distract from the comic-book silliness of the narrative.<\/p>\n

Image Credits: RSVP Movies<\/p>\n<\/figcaption>\n<\/figure>\n\nIt’s best reflected in how Bala creates a ultra-kitschy retro moment for Supri\u2019s introductory scene. Even though the moment is set to a recreation of Kishore Kumar\u2019s \u201cNakhrewali\u201d, he doesn\u2019t just rely on the familiarity of the classic song to make it stand out. Instead it is packed with a meet-cute, a random child dreaming of a meet-cute on a sunny afternoon, and a rewarding role-reversal of the slo-mo action set-piece. In the scene, Surya, the film’s male lead, watches in disbelief as Supri sleekly glides over a car and single-handedly beats up a bunch of guys aided by a weapon as <\/span>feminine<\/span><\/a> \u2013 her trusty scarf. Similarly, <\/span>Mard Ko Dard Nahi Hota\u2019s<\/span><\/i> multiple action set-pieces are brought to life by their irresistible hand-to-hand action and their lack of performative machismo. Some of the sequences are laugh-out-loud entertaining, especially the one on a deserted road where Surya tackles half a dozen male nurses trying to get to Mani, while he casually looks on, occasionally squeezing an orange in someone\u2019s face.<\/span>\n\nThere are times when the movie indulges itself: some sub-plots and dialogues distract from the comic-book silliness of the narrative, like a misplaced love track, a backstory of abuse, or an Iron Man-inspired <\/span>wedding<\/span><\/a>. But what the supremely well-cast, directed, and edited (by Bala\u2019s wife, Prerna Saigal) <\/span>Mard Ko Dard Nahi Hota\u2019s<\/span><\/i> desi kung-fu physicality accomplishes, far outruns its minor weaknesses. Just like <\/span>Angamaly Diaries, Local Kung-Fu<\/span><\/i>, and <\/span>One Cut of the Dead<\/span><\/i>, <\/span>Mard Ko Dard Nahi Hota<\/span><\/i> pulsates with a singular energy that replicates a wildly playful irreverence. It\u2019s multiplied manifold by the writer-director\u2019s frenzied imagination that is immersed in translating a movie experience that genuinely cares for the audience, instead of trying to outsmart them. For it\u2019s a potent reminder of why we keep going to the movies \u2013 to experience a cinematic Neverland.<\/span>\n","protected":false},"excerpt":{"rendered":"

Vasan Bala\u2019s Mard Ko Dard Nahi Hota is an affectionate paean to childhood dreams without any filters of practicality as well as a tender tribute to a life spent at \u2013 and elevated by \u2013 the movies. Almost every frame of the film is a treasure hunt of retro movie references.<\/p>\n","protected":false},"author":103,"featured_media":4398,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7810,141,546,7811,6522,7812,7813],"class_list":["post-4395","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-abhimanyu-dassani","tag-bollywood","tag-films","tag-mard-ko-dard-nahi-hota","tag-radhika-madan","tag-retro-films","tag-vasan-bala"],"yoast_head":"\nMard Ko Dard Nahi Hota Review: A Delightful Reminder of Why We Keep Going to the Movies<\/title>\n<meta name=\"description\" content=\"Vasan Bala\u2019s Mard Ko Dard Nahi Hota is an affectionate paean to childhood dreams without any filters of practicality as well as a tender tribute to a life spent at \u2013 and elevated by \u2013 the movies. 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