Tanu Weds Manu Returns is a wind of fresh air, which is jovial and sweet. It sparkles, appeals and then ends - not quite the wonder one would expect Anand L. Rai to serve us, but it is still so endearing and refreshing.

Tanu Weds Manu Returns is a comedy about love, loss and incompatibility that establishes Rai as one of the peculiar filmmakers, as well as one of the Bollywood filmmakers who is able to juggle the tone of serious genre with comic mode simultaneously.

The movie starts with Tanu (Kangana Ranaut) and Manu (R. Madhavan) going into a mental asylum, four years after their marriage.

Manu ends up in the asylum, whereas, Tanu returns to her hometown. Pappi (Deepak Dobriyal), on Tanu's call, flies to London to release Madhavan from the asylum.

Manu on his arrival reaches Delhi to give a lecture in a university, where he discovers Datto (Kangana Ranaut), who is a look-alike of his wife Tanu. Will Manu be involved in Datto? Will their relationship work? Will Tanu and Manu reunite? You will have to watch the movie to get an answer to these questions.

To Ranaut's exquisite galleria of robust performances - the lost and tender Simran of Gangster (2006), the strung-out Shonali Gujral of Fashion (2008), the emotionally confined yet lively Rani of Queen (2014) - Tanuja Trivedi must now be added.

Her performance is meticulously calibrated. The prowess with which she juggles between the confused Tanu and emotional Datto deserves a standing ovation at the screenings. It seems as if you are watching two different women playing the role of Tanu and Datto. She performs each role with an inimitable flair and precision, which is really a laud worthy feat.

Ranaut has definitely given a performance, which satisfies the parameters set by her in Queen.

The scene where Datto cries towards the finale will leave you heartbroken. The poise in Ranaut's portrayal of a strong woman is evident, which will strike a chord with masses and classes.

Thankfully, Dobriyal's portrayal of Pappi is just the pill required to keep the audience glued to the screens.

He flabbergasts you with his comic timing. Had he not been in the movie, the movie would have totally relied on Ranaut's shoulders. Dobriyal is a pleasant surprise that blooms in this romantic comedy.

Madhavan inhabits the same gentle persona, and he does a very good job. His character exhibits innocence and the sense of being lost. With minimum dialogues, Madhavan's torn image of a potential divorcee speaks volumes about his talent. He makes the film fun, by playing the role of a confounded man who can't help himself.

The supporting cast is first-rate. Jimmy Shergill is likable and performed adequately. Swara Bhaskar gives a flawless, short-lived but sweet, performance. Eijaz Khan is a talented actor and has proved his mettle in this flick even in a smaller role.

Himanshu Sharma styles an analysis of marital upset, which is scrupulously written, mostly funny. Though the script meanders towards the end with a clichéd finale, but the overall impression of the movie doesn't wane. It just adds this highly anticipated movie to a bunch of other romantic comedies with Ranaut as its brand image, who breathes life into the movie.

The audience will come out scratching their heads, wondering why the movie had to end. It is a kind of movie that is garnished with a ravishingly smart act by the leads and liltingly eye-catching flamboyance of characters. Give it a chance. You'll be rewarded with a lot of good laughs.
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