The sepia tint, muted colours, hair and make-up, draw from photographs of the incident to faithfully reproduce it on the big screen. Different Punjabi accents capture the diversity of the passengers from various parts of undivided Punjab and it is these nuances that make the film stand out. While Guru Nanak Jahaz draws aces in terms of its research and immersiveness, it does not fare as well in the screenplay department. Written by Harnav Bir Singh and Sharan Art, the narrative gets too caught up in being faithful to history, sacrificing an engaging narrative at its altar. The film becomes entangled in the nitty-gritty of the actual developments, failing to provide many dramatic moments that will keep audiences engaged throughout the film. Mewa Singh’s character too needed to be better fleshed out.
Sukhpreet Kahlon of Indian Express rated 4/5 and wrote "Despite a few pitfalls, comedy expert Smeep Kang crafts an overall crowd pleasing entertainer starring Sargun Mehta, Ammy Virk and Nimrat Khaira."
Although the film tries to weave in a strong anti-dowry message, it seems rather superficial as much of the film has both parties geared towards giving the dowry in order to ensure the happy union of the couple. It is only towards the end that we see any real questioning of social evil.
The film’s strong suit lies in the fact that it highlights key issues of society like poverty, gender discrimination, workplace harassment, and unemployment. One cannot remember when a film examined the plight of workers who wear cartoon costumes and pose with kids to make a living. However, the problem lies in the fact that Mitran Da Naa Chalda portrays these concerns with such a heavy hand that the end result is a didactic film sans any subtlety. The very fact that all men in the workplace are portrayed as being lecherous and potential rapists, is a strange choice. In addition to this is the baffling portrayal of Gippy’s character, who is shown to be a messiah-like figure.
The first half primarily establishes the bond between the ‘chacha-bhatija jodi’, which remains front and centre in the film. Together, the duo seeks refuge in gallons of alcohol, as the uncle vows to see his nephew happy at all costs. There is much drunk philosophising and the dire need for liquid courage when they are off to face brickbats for their deeds. While this is funny at first, it is done with a heavy hand and becomes a bit tiresome. The film also lags in its pacing as there are over-extended scenes and needless meandering before the various strands get tied up towards a rather predictable end. In its enthusiasm to pack in too much, writer Rakesh Dhawan includes a social message of sorts which tells us about the plight of orchestra dancers, who struggle to make a living.
