Film Review: Sunny Sanskari Ki Tulsi Kumari

SUYASH PACHAURI
Oct 29
6 min read

Production: Dharma Productions & Mentor Disciple EntertainmentDirector: Shashank KhaitanCast: Varun Dhawan, Janhvi Kapoor, Sanya Malhotra, Rohit Saraf, Maniesh Paul, Akshay OberoiGenre: Romantic ComedyCertificate: U/ARuntime: 146 minutes

One-Liner:

A glossy rom-com that sparkles with vibrant songs and festive energy but fizzles out under a weak script, forced humor, and predictable emotions.

Introduction

In the glittering universe of Dharma Productions, love stories are often grand spectacles drenched in color, drenched in nostalgia, and filled with emotionally charged moments. Sunny Sanskari Ki Tulsi Kumari continues this tradition on the surface, bringing together Varun Dhawan and Janhvi Kapoor in a romantic comedy meant to blend heart, humor, and heartbreak.

Directed and written by Shashank Khaitan, the film attempts to revive the golden spirit of early 2000s rom-coms full of misunderstandings, exes, jealousy, and over-the-top wedding drama. But beneath its glossy façade of designer costumes, exotic song sequences, and carefully curated frames lies a wafer-thin plot that never quite finds its emotional rhythm.

The premise two ex-lovers faking a romance to make their former partners jealous sounds like a fun, frothy setup on paper. Unfortunately, the execution turns it into a predictable and overly stretched drama that fails to tickle the funny bone or tug at the heartstrings. Sunny Sanskari Ki Tulsi Kumari is a case study in how style can’t compensate for the lack of narrative depth.

Screenplay & Script Sense

Shashank Khaitan’s screenplay begins in the middle of two heartbreaks Sunny (Varun Dhawan) is dumped by Ananya (Sanya Malhotra), while Tulsi (Janhvi Kapoor) is rejected by Vikram (Rohit Saraf). When Sunny and Tulsi discover that their exes are marrying each other, they join forces to stage a fake relationship and ignite jealousy.

The concept itself, though familiar, could have been treated with wit and freshness. Instead, Khaitan’s writing feels formulaic and far too dependent on clichés. The audience is never emotionally invested in the couples because the film skips the crucial “love story” backstories. We never see why Ananya loved Sunny or what made Tulsi so attached to Vikram. As a result, the breakup and the subsequent plan to fake love lack emotional logic and depth.

The humor, too, is inconsistent. Some moments, especially those involving the wedding planner Kuku (Maniesh Paul), generate mild chuckles, but much of the comedy feels forced and overstated. Characters often shout, overreact, or rely on physical humor that doesn’t land.

Khaitan’s script also falls prey to predictability. The film’s title itself Sunny Sanskari Ki Tulsi Kumari is a spoiler. It’s obvious that Sunny and Tulsi will end up together, leaving little room for intrigue. Even the pre-climax, which tries to build tension through misunderstandings, feels mechanical.

The dialogues, co-written with Ishita Moitra, occasionally sparkle with wit and social commentary but too often slide into banal territory. Attempts at emotional resonance — especially during the wedding sequences — lack sincerity and feel like boxes being ticked in a Dharma checklist.

Direction

Shashank Khaitan, known for Humpty Sharma Ki Dulhania and Badrinath Ki Dulhania, has always showcased a flair for romance mixed with comedy. Here, however, his direction falters because the emotional beats don’t land, and the comedic tone feels confused.

The film’s biggest weakness is tonal inconsistency it wants to be funny, emotional, and socially reflective all at once but ends up being none convincingly. Scenes that should feel organic are exaggerated; conversations that should evoke empathy come off as rehearsed.

Khaitan’s control over pacing also wavers. The first half feels stretched, while the second rushes to a predictable conclusion. Instead of building emotional momentum, the film meanders between lavish song sequences and shallow humor.

That said, Khaitan’s eye for grandeur and aesthetics remains intact. The lavish wedding sets, rich costume design, and vibrant color palettes echo the signature Dharma visual language. However, all this beauty feels hollow when the soul of the story is missing.

It’s a film directed with polish but not passion crafted to look perfect in frames but failing to connect with the heart.

Acting

Varun Dhawan as Sunny tries hard to infuse life into the script with his energetic presence. He delivers a few genuinely funny moments, especially in the more chaotic scenes, but his performance often veers into overacting. His comedic timing remains strong, but emotional scenes feel mechanical. Moreover, his diction issues like mispronouncing “Baahubali” as “Bhaubali” reflect a lack of finesse that stands out in a film striving for sophistication.

Janhvi Kapoor as Tulsi Kumari looks stunning and poised but fails to bring the necessary emotional nuance to her role. Her performance feels external more focused on expressions and gestures than genuine feeling. The character needed subtlety and warmth, qualities Janhvi only occasionally touches upon.

Sanya Malhotra as Ananya has limited screen time but performs decently within the weak material given to her. Rohit Saraf, as Vikram, struggles to make his mark partly due to his character’s shallowness and partly because the writing doesn’t give him depth.

Maniesh Paul as Kuku, the wedding planner, injects energy and comic relief, though his humor occasionally borders on loud. Akshay Oberoi as Param Singh leaves a decent impression, while supporting actors like Manini Chadda, Prajakta Koli, and Nazneen Madan do what’s expected of them.

However, the parents crucial in a film about familial interference lack gravitas. Their casting feels weak, and their performances fail to leave any impact.

In short, the ensemble looks beautiful, performs adequately, but lacks chemistry and conviction.

Cinematography

Manush Nandan’s cinematography is one of the few shining aspects of the film. Every frame glows with color and vibrancy, perfectly capturing the extravagant wedding atmosphere that Dharma Productions is known for.

The visual tone is rich combining warm golds, reds, and pastels that evoke both opulence and emotional nostalgia. The wedding sequences, dance numbers, and night shots are gorgeously lit.

Nandan’s camera loves his actors, especially Janhvi, capturing her in dreamlike lighting. While the cinematography enhances the film’s visual appeal, it also exposes the shallowness of the narrative beneath.

The film looks great but “looking great” is all it does.

Music & Background Score

Music has always been a Dharma strength, and here it remains the film’s saving grace. With contributions from multiple composers Tanishk Bagchi, A.P.S., Sachet-Parampara, and Guru Randhawa the soundtrack is vibrant and chart-friendly.

“Bijuria” and “Panwadi” are clear winners foot-tapping, colorful, and choreographed to perfection. “Tu Hai Meri” and “Tumse Behtar” bring a hint of romance, though they lack timeless quality. The party anthem “Sunny Sunny Boy” adds some youthful energy but feels inserted for the sake of it.

John Stewart Eduri’s background score effectively complements the visuals, especially during transitions and emotional moments. However, it occasionally overpowers scenes, trying too hard to create emotion where the screenplay fails.

The film’s musical quotient keeps it watchable even when the narrative falters a testament to the Dharma brand’s understanding of commercial appeal.

Editing

Editing by Manan Sagar and Charu Shree Roy leaves much to be desired. At 146 minutes, the film feels overstretched for a story this light. Several scenes, especially in the first half, could have been trimmed without affecting the flow.

The film’s pacing oscillates the opening drags, the middle feels repetitive, and the climax rushes without emotional build-up. The transitions between comedy, romance, and melodrama are abrupt, giving the film a disjointed rhythm.

While individual sequences are cleanly edited, the overall structure lacks cohesiveness. The excessive song placements further dilute narrative momentum.

Final Verdict

Sunny Sanskari Ki Tulsi Kumari tries to blend modern rom-com energy with traditional Dharma heart but ends up being a confused cocktail neither fully funny nor emotionally satisfying.

It’s a glossy entertainer that thrives on its music, costumes, and festive vibe but fails to deliver substance. The film might appeal to fans of Varun Dhawan and Janhvi Kapoor looking for light entertainment, but for others, it’s a predictable, forgettable watch.

In the end, it’s a film that looks grand, sounds good, but says very little.