Nostalgia, romance, laughter, innocence, this film is a potpourri of comforting emotions


Tari sees Raano for the first time when the whole village gathers in the only house that has a television. They both fall in love and want to get married. Tari even finds the perfect way to send the marriage proposal to Raano’s father. But Raano’s father is a man of principles, a man totally against the dowry, and so when he learns that Tari’s mother’s only request is to have a television as a dowry, he immediately says no to the proposal. . Afterwards, it’s all about how the lovebirds manage to get married, the problems they face on the journey, and the beautiful message the movie conveys at the end.


From the day the trailer was released, one thing was clear: it’s set in the days when television was not a household product. Having a television was a luxury that not everyone could afford. And the way the film showcased the fascination with television is nothing short of hilarious. And at the same time, it paints you in the colors of nostalgia and brings back memories of simpler days.

The way people came together leaving behind all the social stigma, the kind of fantasy world they lived in when it came to television, the way they got overwhelmed when they saw certain scenes, all of this and more portrayed the innocence of that bygone era. . Something that is hard to find these days.

Speaking of innocence, even Tari (Kulwinder Billa) and Raano’s (Mandy Takhar) love story was filled with it. Whenever they went out to secretly meet or talked through a string phone or stole glances, they looked utterly adorable. The new couple of Kulwinder and Mandy had a good hold on screen.

Also, what stole the show was Tari and Butta’s (Gurpreet Ghuggi) friendship. Gurpreet played the perfect friend in the film, who was always ready to defend his pal in every way. He never gave Tari bad advice and only tried to help her when needed.

Still, it can’t be said that their friendship alone is the star of the film, as they have to share that crown with Satwinder Kaur and Mohini Toor’s catfight. The real desi feud between these two is one of the main highlights of the film and something that will keep you entertained throughout. Each time the two met, they added the perfect amount of spice to the otherwise sweet story.

Moreover, other supporting actors like Kaka Kautki, Harby Sangha, Seema Kaushal and others, who had comparatively less screen time, made sure to leave an impact with their performance.

Last but not least, the real heroes of “Television” are the story, the dialogue and the direction. There were hardly any boring moments in the film. The narrative of every scene and situation was properly timed, and as a result, it didn’t feel stretched at any point, which in itself is a Pollywood feat. Also, Tata Benipal and Aman Sidhu did a commendable job with the dialogues. They covered them with the right mix of jokes, satire and mockery, and at the same time, they conveyed the message perfectly.

Speaking of messages, the film also conveys a social message. Dowry is a social evil and should not be practiced regardless of your intentions, and this message is conveyed both at the beginning and at the end of the film in a very subtle but impactful way.

In a nutshell, the way the directors handled the subject matter, the way the authenticity of the period drama was maintained, and the fact that it’s such a lighthearted film makes “Television” a beautiful Punjabi cinema artwork.

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