Padmini Raj Singh, a wealthy old man, has made a will naming his eldest son Rounak Singh as the sole owner of the farm house and the subsequent 300 acres of land in his death. However, an inheritance dispute arises when her other sons, Gajender and Birendra, claim an equal share of the land. Can these conflicts be resolved, or will they become ugly?
36 Farmhouse Review
The film begins with how it is difficult for immigrants to return to their homeland in the wake of the 2020 lockdown from the impact of the epidemic. However, the story revolves around a family feud over heritage and the mystery of murder. Serious accident.
Padmini Raj Singh (Madhuri Bhatia), the mother of the family, lives with her eldest son Rounak (Vijay Ras) in a wealthy mansion on the outskirts of Mumbai. The rest of the family, especially her second son, the ugly rich Gajender (Rahul Singh), and her youngest son’s wife, Mithika (Flora Saini), emotionally treated their mother for the property and refused to accept it. The rest of the story will reveal whether or not they succeeded in convincing the mother to distribute an equal share of the land.
Led by Ram Ramesh Sharma and produced by Subhash Ghai, ’36 Farm House ‘is based on the idea that’ some people steal for profit and some people steal for greed ‘and the inheritance of the farm house is the focal point of the story. At first glance, it seems like a simple family drama where all the characters can be easily found in any Indian family.
Ghai’s OTT debut is a mash-up of genres exploring a range of emotions ranging from sitcom to murder mystery, romance, family drama, greed and class inequality. But nothing is more fun than comedy and a hint of romance. Sharad Tripathi keeps the dialogues concise and straightforward, but the dialogues given to Sanjay Mishra make you laugh out loud.
In the early scenes, a lawyer warns Rounak that he will not get his mother’s fortune on his own. In addition, the land should be divided equally between him and his two younger brothers. However, after the encounter, the lawyer disappears and the police begin to suspect all the servants and family members.
The whole twist is planned and unnecessary, and it clashes with the narrative of the film. However, subplots by immigrant Jay Prakash or JP (Sanjay Mishra), on their way back to their hometown, accidentally get a job offer from Benny (Ashwini Kalshekar) and enter the farmhouse under the wrong identity and Padmini’s granddaughter Antara (Barkha) becomes a professional fashion designer (fashion designer). Coming to live with her nanny with Yu gives the story a lot of fun. Overall, the plot is unpredictable, and the climax is not a major revelation.
Filmed mostly in a farm house, Akhilesh Srivastava’s photography explores the property from all angles. Renowned filmmaker Subhash Ghai is making his debut as a music director and lyricist. Sanjay Mishra’s performance of his song ‘Mind Your Business’ on screen adds masti elements as well as Hariharan’s voice. Decades after ‘Pardesi’, Ghai reunites with Sonu Nigam for the melodious song ‘Mohabbat’. Both tracks are pleasant to listen to, but the tempo is very slow compared to other songs of this era.
When it comes to performance, this is the whole Sanjay Mishra show. His comic timing is excellent, and he makes JP the most memorable and fun character. Another notable character is Harry, played by Amol Parashar. The father-son duo enter the house with secret intentions, but they soon discover a big scheme organized by their wealthy masters inside the farmhouse.
Madhuri Bhatia Nani as Padmini Raj Singh performs sincerely and her family is a motherland where she wants her family to love her more than her money. Vijay convinces the character of Ras Rounak that he has a single track mind with a failed business and marriage and needs his mother’s support to rebuild his life. Barkha Singh portrayed Andra, who is seeking love from Nani, well. Her on-screen chemistry with Harry is impressive.
Ashwini Kalsekar’s Benny’s character is nothing new because she has proved her mettle in doing similar roles before. Although Rahul Singh’s Gajendra and Flora Saini’s Mithika have limited roles, they both contribute to the narrative.
Overall, Subhash Ghai’s 107-minute non-stop social commentary on greed, class inequality, family strife and love seems like a half-white attempt. On the other hand, Sanjay Mishra’s decentralization makes it a light and airy watch.