Teriya Meriya Hera Pheriyan: 2024 Punjabi Comedy Film Trailer, Review

Teriya Meriya Hera Pheriyan: Punjabi Comedy Film Trailer, Review

4to40.com June 24, 2024 Movie Reviews 503 Views

Teriya Meriya Hera Pheriyan : Movie Name
Directed by: Ricky MK
Starring: Jaswinder Bhalla, Harby Sangha, Yograj Singh, Anita Devgan, Mintu Kapa, Upasana Singh, Rana Jung Bahadur, Shashi Kiran, Karan Sandhawalia & Anu Singh
Genre: Comedy, Drama, Family
Release Date: 21 June, 2024
Language: Punjabi
Running Time: 125 Minutes
Rating:
Production Companies: Guru Kirpa Films, Little Angel Productions

Teriya Meriya Hera Pheriyan: Overview

Lucky is a young taxi driver whose dream of moving to the UK is thwarted by financial constraints. When he falls for Paali, whose father proposes a fake marriage to facilitate her UK immigration, Lucky agrees, hoping to win her love. Will their fake marriage turn into a real one?

Movie Trailer:

Teriya Meriya Hera Pheriyan: Movie Review

Pukhraj Bhalla and Aditi Arya starrer is too generic and predictable

Story: Lucky, a young taxi driver, dreams of moving to the UK is delayed by financial constraints. When he falls for Paali, whose father proposes a fake marriage to facilitate her UK immigration, he agrees, hoping to win her love. Will their phony marriage turn into a real one?

Review: Teriya Meriya Hera Pheriyan fits snugly into the familiar mould of Punjabi romantic comedies, where love blossoms amid a tangle of misunderstandings and deceptions. Yet, Ricky MK’s direction injects a breezy and light-hearted charm into this well-trodden narrative, making it an easy watch. The story doesn’t break new ground, but despite this, the central question of whether Lucky (Pukhraj Bhalla) and Paali’s (Aditi Arya) fake marriage will turn into a real one provides a humorous and heartwarming journey.

The story revolves around Lucky, an ambitious young man who has successfully cleared his IELTS and dreams of settling in the UK. Financial constraints force him to work as a taxi driver, but he clings to his aspirations. His world turns upside down when he meets Paali, falling in love at first sight. Paali’s father (Yograj Singh), desperate to see his daughter settle abroad despite her repeated failures in IELTS, concocts a plan for a fake marriage between Paali and Lucky to secure her UK immigration. Lucky reluctantly agrees, and as genuine feelings develop between him and Paali, they face the challenge of convincing her father of their true relationship.

The film touches on the theme of the relentless pursuit of dreams of settling abroad, blending humor and romance. However, it glosses over the serious issue of forcing decisions upon a girl without her consent, overshadowed by the central love story and the chaos that ensues.

The plot feels scattered, with a script that, despite containing a few catchy lines, lacks depth and cohesion. The story’s predictability and lack of originality may leave some viewers wanting more. Nevertheless, the film’s soundtrack stands out as a highlight, typical of Punjabi cinema, though the repetitive background score may become grating.

Performance-wise, the real-life father-son duo, Jaswinder and Pukhraj Bhalla, shine. Jaswinder’s comic timing as Major Sahab is impeccable, and Pukhraj convincingly portrays Lucky, capturing the character’s emotional range. Aditi Arya, making her debut as Paali, is a refreshing presence and holds promise for the Punjabi film industry. The on-screen chemistry between Pukhraj and Aditi is endearing and brings freshness to the film. Jaswinder Bhalla and Upasana Singh, although amusing together, have a love story that feels somewhat immature. Supporting actors like Harby Sangha, Yograj Singh, Rana Jug Bahadur, and Anita Devgan provide moments of comic relief, but their performances fall short of elevating the film.

In conclusion, while Teriya Meriya Hera Pheriyan does not break new ground with its generic and predictable storyline, it offers a light-hearted escape from daily life. Lowering expectations might help viewers enjoy this film for its entertainment value rather than its narrative innovation.