Director Mudassar Aziz is returning to the big screen with another chaotic relationship comedy, .
This time, the filmmaker pushes the classic “woh” angle in a marriage far beyond the usual love triangle formula, with character finding himself trapped between not one, but multiple women, leading to a complete comedy of confusion.
As soon as the trailer dropped, social media reactions began pouring in, with some viewers criticising the film for allegedly glorifying infidelity in modern relationships. However, Mudassar Aziz has strongly rejected that interpretation, insisting that the film’s intent is being misunderstood. In a candid conversation with Hindustan Times, the filmmaker explained why he believes the film is very different from other stories dealing with extramarital complications.
Explaining his thought process, Mudassar said, “You are also challenging yourself. You have a quest to give the audience something new this time. I said to myself, ‘How about if we make this subject with a nihaayat hi patnivrata (extremely devoted to wife), jisko kehte hain na ki ekdum sabhya purush (extremely civilised man)?’”
The filmmaker also reflected on how the franchise has evolved with changing social dynamics over different generations. Referring to the original Pati Patni Aur Woh by B. R. Chopra, he explained that the story at the time explored shifting gender dynamics and how men were beginning to adjust to the growing presence of working women in society.
Mudassar then spoke about his 2019 adaptation, Pati Patni Aur Woh, starring Kartik Aaryan, saying it focused more on emotional disconnect and the monotony that can creep into marriages over time. “It’s not necessarily that the person is wrong, but sometimes communication breaks down between two people, and things can go wrong,” he explained.
The director concluded by saying, “There is this official in the Forest Department, Prajapati Pandey, who loves his wife very much, and some comedy of errors occurs in his life. The world starts to feel that there is no man worse than him. The story gets to a point where you feel, ‘Bhai, someone please support this shareef aadmi (decent man). Every genre and every maker should have an individual responsibility and a responsibility toward the story. And I feel that, unfortunately, we are living in a very trigger-happy world where we want to quickly say, ‘Oh, this is like this, or that is like that.”
