Bollywood and culture in an emerging India
At their best, David Dhawan comedies can be a little raunchy, but fun. This one is very raunchy, packed to the brim with provocative shots of women in bikinis and heaving bosoms, but there is no sign of fun. This is the kind of film that makes you wish it wasn’t your job to review movies week after week.
Dhawan hasn’t even bothered with a coherent script –- it’s almost as if everyone connected with the film landed up on sets and asked themselves, “now what juvenile gag can we come up with today?”
Starring in these gags are Sanjay Dutt and Ajay Devgn, playing conmen who are called Chetan and Bhagat respectively. They spend most of the film trying to outdo each other in wooing rich heiress Khushi (Kangna Ranaut) while in Bangkok, where they’ve arrived hoping to avoid the wrath of a man they have duped.
Abhinay Deo’s “Delhi Belly” isn’t your average Bollywood film. For one, it can hardly be called a Bollywood film, because the primary language isn’t Hindi, it’s English. Like most Bollywood films, this is also not a “family film”.
All those cuss words and toilet humour would be tough to endure with your parents or kids sitting next to you — with friends, it might be funny though.
The story takes off from where the four, after having donated all the money they won to charity, are back to being jobless and penniless. But when they come across their arch nemesis Kabir Nayak (Sanjay Dutt) and see that he’s rich and successful, they decide to feed off his wealth. Riteish Deshmukh, Ashish Chowdhry, Arshad Warsi and Jaaved Jaafery play the roles of the four friends.
I don’t know whether I’ve mentioned this before, but there really should be a template created just for the kind of cinema Anees Bazmee’s “Ready” represents, because having to find something to say about a film that seems like the exact replica of ten other films you have seen recently, is a very tough job.
There is always a rich hero, an airhead of a heroine, long-haired, weird looking villains who make sporadic appearances and brandish guns, bumbling aunts and uncles and loads of toilet humour. You can also call it mass cinema, formula films or the oft-used “leave-your-brains-behind-cinema.”
At one point in director Mrighdeep Singh Lamba’s movie “Teen Thay Bhai”, one of the protagonists wakes up in a police van, looks around blearily and asks his brothers, “Where are these police constipators taking us?”
Of course, he meant constables. At that point, you will know or at least I did, that this film is beyond redemption.
I’m going to keep this one short because there’s really not much I can say about Anees Bazmee’s “Thank You” that I haven’t already said about films of this genre – in other words, the “leave your brains at home” films that we seem to churn out with alarming regularity.
This one seems to be a re-hash of Bazmee’s earlier “No Entry”, which at least had a couple of nice songs and some funny moments. This one has nothing but offensive dialogue, bad jokes and even worse acting.
There is some charm in watching Sunny Deol on screen — whether it’s an emotional hug with his father or a fight scene where he holds up the entire floor of a building with one hand.
You realise his value even more when you see him alongside his brother Bobby Deol in “Yamla Pagla Deewana”. While Sunny is assured and warm, Bobby is awkward and bumbling his way through his role.
We are nearing the end of 2010 and everyone’s making their year-end lists. Thankfully, I haven’t made mine yet, because how on earth could I leave out Anees Bazmee’s alleged comedy “No Problem” from my list of the year’s worst films? Thank God for small mercies.
Akshaye Khanna and Sanjay Dutt play brothers who rob a bank and are on the run from both the police and the owner of the bank. Anil Kapoor plays a police officer, whose wife (Sushmita Sen) has a multiple personality disorder and periodically chases him with a knife/axe/gun for no reason whatsoever.
“Phas Gaye Re Obama” does not indulge in slapstick comedy, neither does it follow a formula. The beauty of this film is its storyline which is brought out impeccably as the plot unfolds.
During the film, there are several moments where it seems easy to guess what happens next, but admirably enough the film steers clear of stereotypes and heightens the mood, keeping the audience curious about its climax.
If you’ve seen the earlier two “Golmaal” films, you have a fair inkling of what the third one is about. These are custom-made films, tailored to the “festive mood” when filmmakers think audiences will laugh at anything and pay any amount of money if you promise them a fun-filled entertaining film.
If that means you have the customary toilet humour, so be it. If that means you have to fit in a criminal, a bumbling police officer and five songs in a two-hour film, so be it. And if it means replacing good writing with slapstick, crass humour, who cares? As long as you can disguise swear words ingeniously, get a dog to bite a man’s backside and bring in some emotion towards the end. The laughs will come because people are in a festive mood – at least that’s the formula.