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Guest Iin London….Forced comedy

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Guest Iin London is a kind of unofficial sequel to the director Ashwani Dhir’s own 2010 film, Atithi Tum Kab Jaoge? Paresh Rawal played the uninvited guest in Ajay Devgn house in that film. Paresh Rawal is the common factor as the guest in Guest In London. His hosts have changed, though.

The character of Kartik Aaryan works in London and is at the mercy of his maniacal boss because if he loses his job, his visa would be cancelled, too. Kartik can’t afford this situation because he plans to settle and make a career here. He finds a solution which many Asians are known to use to get permanent visa and that is to marry a local girl.

It seems there are intermediaries too to fix such temporary marriages. Using the services of one such, Kartik decides to marry the character of Kriti Kharbanda whose bio data has the unique distinction of having two fathers and two mothers! Ergo, she has never known true family love. For sums agreed upon, Kriti agrees to marry Kartik for a period of six months till he gets his visa.

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The authorities in the UK seem to be aware of such visa weddings so Kartik and Kriti have to present themselves in a magistrate’s court to attest that theirs is not one such arrangement. At the court, one who sees through their ploy is the character of Sanjay Mishra, a Pakistani court clerk. The wedding is to take place after 10 days. Meanwhile, Mishra turns out to be the next door neighbour of Kartik and he takes it upon himself to spy on the couple to catch their lie.

That is when the guests, Paresh Rawal and the character of Tanvi Azmi, come into the couple’s lives. Somehow, the guests drop in at Kartik’s office on the basis that they are the neighbours of one of his uncles! They end up forcing hospitality on the couple since Kriti has also moved in.

Initially, Kriti and Kartik find the guests useful to make their marriage pact look legit. For their selfish cause, they let the guests take over the reins of the house. Every day is a party as Paresh and Tanvi inculcate the great Indian values into the couple and the mainly their subcontinent neighbours.
By this time, Kriti feels like she belongs and that she has a family now. She has fallen in love with Kartik and wants their wedding to be for real. That having been achieved since both love each other, the equations change. The couple finds the guests to be an impediment on their lives. They want to get rid of them.

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The justification for Paresh Rawal and Tanvi Azmi’s forcing themselves as guests on Kartik and Kriti has been summed up through an irrelevant sob story and melodrama.

The film figures in the comedy genre and one is not meant to look for logic in comedy. The problem here is that, even after sacrificing logic, the film fails to create comedy. The scripting is poor and the comic situations are forced and, hence, fail to work. Paresh Rawal’s passing of gas with thunderous sounds is not considered comic anymore. Other attempts at comedy are juvenile. Direction is poor. There is no support from the musical score. Editing is weak. Dialogue fail to evoke laughter except when related to Mishra’s Pakistan connection. The use of Punjabi lacks the flavour.

Performances are just about passable. Kriti and Kartik make a good pair but the makers fail to create adequate chemistry between the two. Paresh Rawal sails through the film mainly on his reputation of being a great actor; he does not add to that in this film. Tanvi Azmi’s use of Punjabi lets her down. Sanjay Mishra is good as always. Ajay Devgn’s guest appearance serves no purpose.
Guest Iin London has had poor opening and lacks merits to improve.

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Producers: Kumar Mangat Pathak, Abhishek Pathak.

Director: Ashwani Dhir.

Cast: Kartik Aaryan, Kriti Kharbanda, Paresh Rawal, Sanjay Mishra, Tanvi Azmi, Ajay Devgn (Sp Appearance).

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Hindi

Kridhan Infra enters film production with AI-led feature film

Infra firm debuts AI-powered film marking RSS centenary

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MUMBAI: Kridhan Infra Limited is swapping hard hats for headsets. The infrastructure company has announced its entry into film production and media technology through its subsidiary, Kridhan Mediatech Private Limited, with the nationwide theatrical release of Shatak: Sangh Ke 100 Varsh, an AI-led feature film.

With Shatak, the company is not just stepping into cinema but staking a claim in what it describes as one of the world’s early full-length AI-driven feature films. Artificial Intelligence has been embedded across the creative and production process, from script visualisation and environment creation to modelling and production design.

The film commemorates 100 years of the Rashtriya Swayamsevak Sangh, tracing defining moments, personalities and historical phases that shaped its journey. By combining archival storytelling with algorithm-powered creativity, the project attempts to blend heritage with high technology.

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For Kridhan Mediatech, this is only the opening scene. The subsidiary’s broader ambition spans AI, CGI, virtual production systems and scalable content models for both theatres and digital platforms. The move signals a strategic diversification for Kridhan Infra, traditionally rooted in engineering and construction.

The timing aligns with India’s growing push to become a global AI powerhouse. At the 2026 AI Impact Summit, prime minister Narendra Modi urged innovators to design in India and deliver to the world. Kridhan Mediatech’s initiative positions itself squarely within that narrative, aiming to export technology-enabled storytelling beyond domestic audiences.

India’s media and entertainment industry, valued at over Rs 2.5 lakh crore, alongside a rapidly expanding AI economy projected to cross Rs 1.4 lakh crore in the coming years, offers fertile ground at the intersection of cinema and code.

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“With Shatak, we proudly present one of the world’s first AI-led full-length feature films while marking our strategic entry into film production and media technology through our subsidiary,” the company said in a statement. “Our vision is to combine India’s rich narrative heritage with forward-looking innovation. This is just the beginning of building globally competitive, technology-enabled cinematic experiences.”

From infrastructure to imagination, Kridhan’s latest venture suggests that in today’s India, even storytelling can be engineered.

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