'Ufff Yeh Siyapaa' Review: A Silent & Whimsical Treat
By the end, you walk away realizing how much noise exists in typical storytelling, and how refreshing it is to sit with a story that breathes through its silences.
Published: Thursday,Sep 04, 2025 19:30 PM GMT+05:30

Ufff Yeh Siyapaa
In theaters now
Cast: Sohum Shah, Nushrratt Bharuccha, Nora Fatehi, Omkar Kapoor, Sharib Hashmi & more
Directed by: G. Ashok
Rating - ***1/2 (3.5/5)
Every once in a while, a film arrives that dares to break the pattern. Ufff Yeh Siyapaa does just that. It speaks without speaking, delivering a full-bodied cinematic ride without relying on dialogue. Directed by G. Ashok and backed by Luv Ranjan, this little experiment turns into a spectacle worth applauding.
At its heart, the movie is a comedy of errors. Yet it comes layered with tenderness, chaos, and a surprising amount of depth. The absence of spoken words doesn’t hold it back; instead, it amplifies the emotions and magnifies the hilarity of human blunders.
Sohum Shah Steals the Show with a New Avatar

Sohum Shah, remembered by most for the eerie brilliance of Tumbbad, does a complete 180 here. As Kesari Lal Singh, he leaves behind the grim shadows of horror and enters the world of slapstick mischief and expressive humor. Watching him trip, tumble, frown, and gesture his way through spiraling troubles feels like a masterclass in physical comedy.
His Kesari is every common man caught in extraordinary messes. A small misunderstanding snowballs into an avalanche of chaos, and Shah makes that descent both hilarious and oddly relatable. He doesn’t need dialogue to make you laugh; his eyes, body language, and timing carry the weight. It’s the kind of performance that reminds you why silence can often be the loudest sound in cinema.
A Cast That Clicks into Place

A film like this would sink without a committed ensemble, and thankfully, the supporting cast comes ready to play. Nushrratt Bharuccha surprises in the role of Pushpa. Known for her knack for switching gears across genres, she flexes her comedic muscle with confidence.
Her screen presence in tricky, wordless scenarios shows how much an actor can convey without uttering a line.
Nora Fatehi as Kamini brings her trademark glamour but never feels like a token addition. Her movements, expressions, and sheer energy add another shade to the film’s palette. Then there’s Sharib Hashmi as Gungra, who drops in with sly humor and manages to stand tall even in brief appearances.
His chemistry with Nushrratt generates some of the film’s liveliest sequences, proving how much joy can come from well-played silence.
Rahman’s Music Becomes the Unsung Narrator

In a film without dialogue, sound carries a different burden. Enter A. R. Rahman, who turns the soundtrack into a living, breathing force. His compositions don’t just decorate the scenes; they become the invisible narrator. A sudden swell of strings hints at tragedy, playful beats underline comedy, and soulful melodies soften the absurdity into poignancy.
Rahman’s score guides the audience like a secret handrail, ensuring that no moment feels empty. It keeps the film from drifting into silence fatigue, giving every sequence a pulse. In many ways, the soundtrack becomes a character in its own right, nudging the story forward while wrapping it in a sense of magic.
Final Word
Ufff Yeh Siyapaa thrives on contradiction. It’s chaotic yet quiet, absurd yet thoughtful, funny yet strangely moving. By choosing silence, the film doesn’t limit itself; it liberates itself. The comedy is sharper, the drama richer, and the viewing experience far more immersive.
This isn’t just another Bollywood comedy aiming for quick laughs. It’s a cinematic gamble that pays off because it trusts the intelligence of its audience. It asks you to lean in, watch closely, and engage with expressions, sounds, and visuals rather than spoken exposition.
By the end, you walk away realizing how much noise exists in typical storytelling, and how refreshing it is to sit with a story that breathes through its silences. Ufff Yeh Siyapaa isn’t merely a film; it’s a quirky reminder of cinema’s oldest truth: sometimes, the less you say, the more you speak.
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