Gulabo Sitabo is a 2020 Indian Hindi-language comedy drama film[2] directed by Shoojit Sircar, produced by Ronnie Lahiri and Sheel Kumar, and written by Juhi Chaturvedi.

[3] Set in Lucknow, it stars Amitabh Bachchan, Ayushmann Khurrana, Abhinav Pundir and Farrukh Jaffar.

Chunnan 'Mirza' Nawab (Amitabh Bachchan) is a stingy old ghar jamai who is regarded by most people he knows as a greedy miser.

He owns a wheat mill shop, and consistently makes and claims for why he can't pay his long-overdue rent despite being charged even less than all the other tenants, much to Mirza's chagrin.

Baankey gets his opportunity when Gyanesh Shukla (Vijay Raaz), an archaeologist working for the government, realizes the historic value of the property.

Everyone falls in chaos and confusion, including Baankey, who goes up to her room to see her, while Mirza secretly feels happy at first, thinking Begum has died and the mansion is now his.

I thought it would take some time to develop and take it forward, but everyone was so enthusiastic to work on this script, they figured out their dates and here we are..."[4] The title is named after a traditional puppet show in Uttar Pradesh which revolves around two women, the simple Sitabo and headstrong Gulabo (depicted either as wife and mistress respectively or sisters-in-law to the same man), bickering with each other.

[citation needed] Due to the COVID-19 pandemic, the film was not released theatrically, but on Amazon Prime Video worldwide on 12 June 2020.

[13] The film's music was composed by with Shantanu Moitra, Abhishek Arora and Anuj Garg with lyrics written by Puneet Sharma, Dinesh Pant and Vinod Dubey.

The humour is quieter," but also criticises it for its pacing, "These characters aren't necessarily likeable so you might feel a little fatigued in their company.

[15] The Times of India gave it a rating of 3.5 out of 5 saying, "While the movie does well on many fronts and one of the highlights being the premise itself, the build-up consumes a fair share of the film, making it a tad draggy at the start.

A tired-seeming Khurrana, meanwhile, presents as blandly anonymous, reducing a final push for pathos to a limp shrug.