“OYE LUCKY, COOL OYE !”
There has been a distinct division in the making of films in Bollywood, of late. On one hand we get big budget flicks from Akshay Kumar, Shahrukh Khan, Salman Khan and on the other hand from 2006, we have been highly fortunate to receive enactors like Kay Kay Menon, Irrfan, Paresh Rawal, Jimmy Sheirgill, Rajat Kapoor, Ranvir Shorey and Vinay Pathak. Specially Kay Kay Menon and Irrfan have been giving such powerhouse performances that they have already made a formidable mark on the global celluloid scenario. Abhay Deol quite surprisingly and pleasantly have been climbing up the ladder of sensible on screen drama, even though people have been labelling him as ‘Sunny and Bobby’s CHACHERA BHAI ….’ But the judgment day has arrived. Clearly our national film industry has been dividing up with movies being made from diverse philosophical and ideological camps. Only time may determine which one would emerge victorious, but for the global audience films like ‘Dasvidaniya’, ‘Shaurya’ and ‘Oye Lucky, Lucky Oye’ will have a greater impact.
For ‘Oye Lucky, Lucky Oye’, only one term is applicable for an ample description and that’s ‘cool’. The editing is cool, the screenplay is arresting, the direction is sleek and highly efficient and the camera work by Kartik Vijay is absolutely exemplary and blitzkrieg. The story may have dearth in patches but the making so efficient and exquisite that the film turns out to be ‘cool as a cucumber’. The film is a thorough joyride…. a mimicking of the menancing social dimension of contemporary India. But the style in which this mundane subject has been dealt, has been of utmost encouragement. Delhi based director Dibakar Banerjee who previously debuted with the Boman Irani- Anupam Kher starrer ‘Khosla Ka Ghosla’ appears to be infatuated by the revisionist classic film makers of modern Europe and makes ample usage of montage and short lived sequences but keeps his heart ‘Indian’ and approach ‘honest’ which gives the screen a boost and attitude of it’s own. The film undoubtedly required some more intense dialogues and lesser use of blazing colours, but still the approach makes the film enjoyable to experience. There are extensive close shots of Paresh Rawal, neetu Chandra and Abhay Deol’s profiles and this is the very characteristic which some times make the movie unearthy. The music by Sneha Khanwalkar is innovative, but never outstanding. The Kishore Kumar song ‘Chahiye Thoda Pyar, Thoda Pyar Chahiye’ has been utilized coolly. The sequence where Lucky goes to media person Babul Awasthi’s pavilion for rampaging and the sequence amongst B.K. Honda and Lucky in the newly inaugurated multi cuisine parlour are really intriguing. The performances are top notch. Abhay Deol as the modern ‘Robin Hood’, Paresh Rawal in a triple role and Archana Puran Singh as the forger in disguise all stand high to their acting calibres. Neetu Chandra may be denoted as the weakling, but she has given her best. While it’s inevitable that the highly ‘brainy’ spectators and movie goers of Indian cinema won’t make this ‘star-less’ affair into a box office bonanza, these ‘brainy’ celluloid inscriptions will thwart the raunchy and masochist movie wallahs of normal Bollywood with an alarming red signal. This film is another Samaritan in the transformation of Indian cinema into something maverick and psychological rather than remaining everlastingly ‘visual’ and ‘visual’…. and ultimately ‘visual’.
‘oye Lucky, Lucky oye’ lacks in heart, but flourishes in ‘brain’.
That’s why it’s ‘Oye Lucky, Cool Oye!’