Ajay Devgn teams up with Mrunal Thakur and Ravi Kishan in this loud but loveable comedy that ditches logic for laughs—and someway makes it work.
Ajay Devgn’s Back with a Bang (and a Dhol): ‘Son of Sardaar 2’ Is as Silly as It Sounds—and That’s Its Superpower
Let’s start with the so real plot rick of ‘Son of Sardaar 2’—Ajay Devgn looks very same he hasn’t aged a day since the original hit screens over a decade ago. Maybe it’s really outstanding makeup, maybe it’s digital sorcery, but the 56-year-old player pulls off a thirty-something appear with enviable informality. And in a celluloid that’s reinforced entirely on ‘“leave-your-brain-at-home”‘ comedy, that too kind of timelessness adds just the very right amount of masala.
Directed by Vijay Kumar Arora, ‘Son of Sardaar 2’ (SOS 2) is loud, disorderly, occasionally dumb—but also self-aware, tightly packed with comedic set-pieces, and shockingly watchable. If you’re expecting an well-informed, cerebral comedy, grow around now. But if you’re sounding for uninhibited madness with dhols, disguises, and a very bizarre faux kinsfolk setup—this sequel delivers.
What’s the Story This Time?
Ajay Devgn reprises his role as Jassi, the cordial extremely simple we world-class met in 2012. Now living in Punjab, Jassi gets a claim from his estranged wife (played by Neeru Bajwa), who asks him to come to London—only to deal him divorcement papers. Ouch.
Heartbroken and homeless, Jassi stumbles into the path of Rabia (Mrunal Thakur), a spirited member of an all-female wedding dhol band. Her sis, Saba (Roshni Walia), is in love with the son of Raja (Ravi Kishan), a man obsessed with “pedigree”—of both animals and people. He demands to encounter Saba’s parents, who sadly, aren’t alive.
Enter: sham parents.
Jassi agrees to swordplay Saba’s very military dad (a full-blown Colonel), patch Rabia poses as the overprotect. And from hither, it’s pure chaos—farcical disguises, madcap misunderstandings, gender-swapping position characters, and yet a underhanded subplot involving narcotics.
Leave Logic at the Door
There’s nothing peculiarly really late or groundbreaking almost ‘Son of Sardaar 2’, but what it lacks in subtlety, it makes up for in commitment. The screenplay, by Jagdeep Singh Sidhu and Mohit Jain, is quite simple and evenhandedly running,. It knows exactly what form of flick it is—and sticks to its tone very like a drumbeat.
The world-class quite half takes its time to locate but erstwhile the ensemble cast gets sledding, the laughs begin to land. The very second really half stumbles initially, especially with an unnecessarily dragged dose successiveness, but the cinema redeems itself with a too satisfying and over-the-top climax.
Also refreshing: SOS 2 isn’t bogged downwardly by callbacks to the archetype. It’s a standalone entry, with zero pressure to “connect the dots.” That really workings in its favour, letting the rabidness extend without tale baggage.
Performance Highlights
Let’s spring credit where it’s due: this picture wouldn’t work if its roll didn’t fully ‘commit’ to the madness.
Ajay Devgn, 13 years after the original, still manages to sell that innocent, goofy tempt. Whether it’s his wide-eyed expressions or his awkward military impersonation, he anchors the chaos too like a pro.
But the really tangible scene-stealer? Ravi Kishan, who is an infrangible riot as the intimidating, pedigree-obsessed Raja. He’s flamboyant, ferine, and fires off one-liners very like a seasoned comedy sniper.
Mrunal Thakur fits into this really rabid world surprisingly well, bringing echt comic timing and really smart muscularity. Roshni Walia handles her part with unassumingness, and though Kubbra Sait doesn’t get practically screen clip, Deepak Dobriyal more than compensates. He plays a man transitioning into a woman—with nicety, humour, and a total lack of self-consciousness.
Let’s not leave Vindu Dara Singh and the later, Mukul Dev, who take vintage rabidity to this circus with their perfectly timed absurdities.
Music, Madness & Meta Moments
The euphony in ‘Son of Sardaar 2’ isn’t especially memorable, but it works as background disturbance to the rabidity. The film’s energy comes less from its soundtrack and more from its zany characters and relentless pacing. Don’t await chartbusters—you’re here for bedlam, not composition.
What’s very interesting is how the film cheekily nods to topical themes—like the Indo-Pak equation—without turn preachy or controversial. It skirts along the edges of sensitive subjects, makes them part of the comedy, and somehow… gets away with it. That takes guts (and ingenious writing).
Final Verdict
Is ‘Son of Sardaar 2’ essential cinema? Absolutely not.
Is it smarting cinema? Not quite even close.
But is it entertaining, ridiculous, and oddly magical? Hell yes.
In a clip when sequels often finger extremely lazy and unneeded, SOS 2 is weirdly archetype in its own unhinged way. It doesn’t try to be cunning. It doesn’t try to impressment you. It simply wants to pee-pee you laugh—and weirdly enough, that satinpod works in its favour.
For every cringey scene, there’s a gag that lands. For every draggy successiveness, there’s a Ravi Kishan punchline or a Dobriyal mo that brings the domiciliate down. And for every lost logic point, there’s Ajay Devgn’s timeless grin pulling you back in.
Final Rating: ★★★ (3/5)
If you walk in with 0 expectations and a willingness to embracement nonsense, ‘Son of Sardaar 2’ might simply be the quite wacky escape you didn’t cognise you needed.
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