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These 11 Pappiji Dialogues From Tanu Weds Manu Returns Will Crack You Up!

Isha Sharma

May 28, 2015

In just a week since its release, Tanu Weds Manu Returns has become one of the most successful films of 2015. Lead actors Kangana Ranaut and R Madhavan are too busy thanking the film fraternity and audience for their compliments. However, there is another person who is on cloud nine these days. Yes, we are talking about Deepak Dobriyal!

Deepak, who plays Pappiji in the film has been lauded for his comic timing and intriguing on-screen presence. It would be wrong of us if we forget to mention Himanshu Sharma here, and all thanks to Aanand L Rai for getting him on board for the dialogues. After ignoring all the minor errors in the script, the film is a sure-shot hit already and Pappiji is one of the reasons.

If the first dose of funniest dialogues from the film made you laugh, here are 11 of Pappiji's dialogues that are so funny that they'll stay with you for longer than usual!

1. More aashiqui = More pollution?

2. You can't have severe commitment issues unless you're Salman Khan. Get it?

3. Colony-wala love.

4. Pappiji is very clear with his priorities, okay?

5. FYI that weird looking toy that makes a funny sound when you press it is Peepni.

6. When you are beaten for stalking a girl, this might just sum up your pain too well.

7. For knowledge related to hips you never really wanted.

8. Because, screw English.

9. When you know death is imminent, some prior arrangements always come handy.

10. The next time your cab-guy overcharges you for that extra waiting, this might just work.

11. Serious food-combination logic.

http://www.indiatimes.com/entertainment/bollywood/11-pappiji-dialogues-from-tanu-weds-manu-returns-that-will-crack-you-up-233036.html

At the opening of Tanu Weds Manu Returns, Tanu (Kangana Ranaut) says of her husband of four years: "I think I love him, but I've stopped liking him. I like him like a mammal."

It's a sentiment that's surely recognisable to couples the world over, and a nice starting point for a sequel to a romcom that ended with the promise of happily ever after. The story picks up again with two people who want to slit each other's throats in a way that can only be inspired by the grating annoyance, drudgery, and pent-up resentment of cohabitation.

For me, Kathleen Turner said it best in War of the Roses, "When I watch you eat. When I see you asleep. When I look at you lately, I just want to smash your face in." But Tanu makes a pretty good go of expressing herself, too. She leaves her husband Manu (Madhavan) in London and heads to her family home in India, where she rebuffs all attempts at reconciliation and tells anyone who'll listen, quite rightly, that marriage for the sake of making something happen in one's life is a terrible idea.

It's only when her husband develops a new love interest (also played by Kangana Ranaut, sporting a fantastic crop this time) that the film veers away from the heady joy of a woman escaping a stale relationship to something more conventional. But even within this conventional setup, there are glimpses of something new and interesting taking place here.

Both Tanus are formidable (as they say "strong women") and infinitely human. Tanu Weds Manu Returns doesn't seek to overthrow patriarchy with its desire for a tidy ending, but it still shows up some of its ugly hues, with one of Tanu's suitors feeling he's entitled to try to destroy her for not returning his advances. It takes a swipe at elitism with Tanu mocking Manu's girlfriend's social status, only to have her confidently inform Tanu that she helps run her house and has got into college on a scholarship while Tanu has never worked a day in her life and considers it an achievement.

Even given the formulaic nature of the third act, with its witty script and superb performances from the principals and supporting cast, Tanu Weds Manu Returns accomplishes something no other major Indian release of 2015 has achieved - it's terribly entertaining. With few exceptions, this has been a year of pointless, derivative action movies or bloated, self-indulgent offerings from auteurs seeking to make terribly important films. What one has been missing is someone perhaps with smaller ambitions, someone seeking to make just a good film, like this one.

http://www.theguardian.com/film/2015/may/28/tanu-weds-manu-returns-review-witty-bollywood-take-on-marriage?CMP=share_btn_tw