Apr 16, 2026 7:12pm IST
‘Bhooth Bangla’ Review: This Akshay Kumar-Priyadarshan Film Spirits You Away to a Mansion-full of Laughs
The enticing combination of Akshay Kumar-Priyadarshan and a genre that they redefined before with “Bhool Bhulaiyaa” already builds up dollops of curiosity around their latest outing “Bhooth Bangla.” And despite all the hiccups, “Bhooth Bangla” manages to bring in the laughs and scares – a dash of nostalgia being one of the prime contributors.
The film goes like this: Life changes overnight for the UK-based Arjun (Akshay Kumar) when he inherits a massive fortune (which includes a mansion) in Mangalpur, a small town in India. Arjun lands up over there to claim what is now legally his. In fact, he even decides to have the wedding ceremony of his sister Meera (Mithila Palkar) in the mansion itself. And that’s when the big warning is thrown at him. Mangalpur is under the watchful eye of an evil entity Vadhusur – the general belief is that Vadhusur doesn’t spare young brides. Arjun, a disbeliever in village tales, still decides to go ahead; he hires a wedding planner Jagdish (Paresh Rawal) and begins the preparations; that’s when things start turning awry. The rest of the story is about the ‘bhooth’ in the ‘bangla’ (and outside it) and the madness that ensues.
Akshay reuniting with Priyadarshan after 15 years is by itself a big-screen celebration. The director’s flair for comedy is unmistakable in the first half of the film. Priyadarshan uses the comedy timing of his actors to enhance even the mundane scenes. That’s what makes the scenes between Akshay and the late Asrani so delightful; at times, you may feel they are devoid of substance but the just the banter between them lights up the screen. The presence of Paresh and Rajpal Yadav makes the proceedings funnier, even though the humor keeps oscillating between nonsensical and slapstick. The scenes between all the primary actors are almost like a tribute to their evergreen entertainers.
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The second half is when things get serious and the story unfolds. Arjun’s battle with the demon reaches a crescendo in a dramatic climax where more twists and turns await the viewer leading to a penultimate clash where good finally reigns over evil.
Priyadarshan manages to create a world within a world – the ambience, the setting and the mood is just right. There is some inconsistency in the writing and loose ends in the edit; maybe even a slimmer version of the film would’ve enhanced the overall impact. There is a bit of tardiness in the casting too – Jisshu Sengupta as Akshay’s father is hard to digest; same with Tabu (in a brief role) as a young bride. Akshay Kumar reigns supreme with his impeccable timing – you can literally see him enjoy every bit of his role; something he’s aced several times before. His transformation in the second half is also solid. The late Asrani shines in every scene.
The film’s visual effects range from erratic to excellent (particularly in the climax). The film’s music (Pritam) is a major letdown; the only worthwhile song comes in the end credits and is lost.
On the whole, “Bhooth Bangla” delivers what it promises to a large extent. Priyadarshan’s quintessential touch is evident at most parts – the silences, the long pauses, the inter-personal reactions between characters and the splendid timing. The inconsistencies notwithstanding, this one’s an ‘actual’ horror-comedy – with bountiful doses of both.
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