ALT Entertainment, Maruti International, Sri Adhikari Brothers and Anand Pandit’s Great Grand Masti (A) is the third film in the Masti franchise.
Amar (Ritesh Deshmukh), Prem (Aftab Shivdasani) and Meet (Vivek Oberoi) are bosom pals and all of them are frustrated in their married lives. Amar, a sexologist, can’t consummate his marriage with his wife, Sapna (Puja Banerjee), because he lives with his strict mother-in-law (Usha Nadkarni). The mother-in-law is convinced that her late husband would be born again into the family and for this, she is guided by a fraud astrologer, Antakshri Baba (Sanjay Mishra), who will decide the time Amar and Sapna should get physical.
Prem, who is married to Nisha (Shraddha Das), cannot consummate his marriage because Nisha’s hot and sexy younger sister (Kangna Sharma) also lives with them. The sister-in-law lusts for Prem, and does not allow Prem and Nisha to even sleep together till she sleeps between them.
Meet is married to Rekha (Mishti Chakravarty) who has a twin brother, Laxman (Ketan Mangesh Karande). Since they are twins, the two experience identical feelings. Resultantly, Laxman revolts when Meet makes love to Rekha because he also gets sexually charged.
The three friends decide to go to Doodhwari village where Amar has a haveli which he is desperately trying to sell. The trio plans to have fun with the girls of Doodhwari while also trying to dispose of the haveli. The palatial house has no takers because it is believed that it is inhabited by a ghost. Amar, Prem and Meet reach Doodhwari in an excited state of mind. At the haveli, they meet Shabri alias Ragini (Urvashi Rautela). All the three are attracted to Ragini’s beauty and are so smitten by her that they lust for her. But soon, they realise that Ragini is the ghost which inhabits the haveli. They try to run away but the sex-starved Ragini won’t allow them to do so. She tells them that one of them would have to have physical relations with her, after which her spirit would go to heaven. She also says that the person with whom she’d have physical relations would die after the act.
Obviously, Amar, Prem and Meet fear for their lives and try to push each other to Ragini’s ghost to save their own life. They then bring in sex maniac Babu Rangeela (Shreyas Talpade) to satisfy Ragini without telling him the truth about her. Their plan goes phut when the three wives reach Doodhwari even as Babu Rangeela is readying himself to get physical with Ragini. Amar’s mother-in-law also arrives at Doodhwari. Obviously, the wives and the mother-in-law are clueless about the presence of a ghost in the haveli or about the three friends’ initial intentions of having sex with Ragini or even about the problem they had landed themselves in.
Ragini’s ghost now plays havoc with the three friends and their family members. What happens thereafter? Does any of the three friends have to oblige Ragini’s spirit? Do the wives get to know about the naughty plan of their husbands, which had got them to Doodhwari? What happens to Ragini’s ghost finally?
Tushar Hiranandani’s story is very silly and has been written with the sole aim of exciting the audience with vulgar jokes and sexual innuendos. The drama moves on a predictable path. If most of the comedy falls flat on its face, the emotional track looks like one big joke, given the extremely vulgar sex jokes in the drama. Screenplay writers Aakash Kaushik and Madhur Sharma, alongwith story writer Tushar Hiranandani, seem to be under the mistaken belief that the more vulgar the drama and the more obscene the incidents, the better the box-office potential of the film. The screenplay doesn’t tease the audience – which is what it should have done if the drama had to be made funny and appealing. Instead, the drama is so in-your-face and so overtly vulgar that it would irritate the viewers or at least a majority of them. Yes, a section of the youth and masses may enjoy the obscene drama but ladies, families, the older generation, classes and even a section of the youngsters and a section of the masses would feel thoroughly repulsed by the proceedings. The comedy at most places falls flat on its face because it doesn’t tickle the audience. The ‘Karwa chauth’ angle in the film looks like a pathetic – and horrendously wrong – attempt to salvage the obscene drama and woo the family audiences. It just does not belong to the film. Two sequences which can truly be termed rotten are: the one in which the three friends try to get physical with Amar’s mother-in-law; and the one in which the three wives are in conversation with Babu Rangeela whom they consider a potential buyer of the haveli. A few scenes are, of course, funny but they are just not enough. All in all, a terrible story is complemented by a shameful screenplay. Dialogues, written by Aakash Kaushik and Madhur Sharma, are double-meaning and too over-the-top. They are vulgar to the core and lack class!
Ritesh Deshmukh does fairly well. Aftab Shivdasani is quite okay. Vivek Oberoi performs with a reasonable amount of conviction. But none of the three heroes stands out. Puja Banerjee, Shraddha Das and Mishti Chakravarty look pretty but get very limited scopes to act. They are all mediocre. Urvashi Rautela looks sexy and her performance is average. Usha Nadkarni looks like fish out of water in an adult comedy. Sanjay Mishra sleepwalks through the role of Antakshri Baba. His track of singing hit Bollywood songs is entertaining. Kangna Sharma is okay as Prem’s sister-in-law. Ketan Mangesh Karande (as Meet’s bother-in-law, Laxman) barely passes muster. Shreyas Talpade makes his presence felt in a special appearance as Babu Rangeela. Sonali Raut leaves a mark as Amar’s sexy maid, Shiney. Calling her Shiney (alluding to actor Shiney Ahuja’s real-life rape case) is in terribly bad taste. Sudesh Lehri is effective as the mukhiya of Doodhwari village. Vijay Gupta (as Ragini’s father), Palash Dutta and Gazla Sharma (as the house-buying couple), Ravi Ujjain (as the broker), Bhadra Parekh (as the shepherd boy) and the others lend good support.
Indra Kumar’s direction fails to entertain even the target audience. Too much emphasis on below-the-belt male jokes and too many references to male and female body parts leave a bad taste in the mouth and this is the director’s biggest failing. Music is a plus point. ‘Teri kamar ko’ and ‘Tera ishq’ (both composed by Sanjeev-Darshan and written by Kumaar) are the best songs. ‘Resham ka rumaal’ (Sharib-Toshi; Manoj Yadav) and ‘Lipstick lagaa ke’ (Superbia; Sameer Anjaan) are also appealing numbers. Song picturisations (by Bosco-Caesar and Vishnu Deva) are eye-filling. Background music (by Sanjay Wandrekar and Atul Raninga) is okay. Nigam Bomzan’s cinematography is fairly nice. R.P. Yadav’s action scenes are functional. Production designing (by Dipankar Dasgupta) and art direction (by Nimishi Misra and Priya Shree) are alright. Sanjay Sankla’s editing could’ve been crisper.
On the whole, Great Grand Masti is an unworthy film in the Masti franchise and will be rejected by the majority audience for its excessive vulgarity and base and crass dialogues. Its online leak ten days back will only add to its tale of woes. Flop.