In search of a Stuart Broad…
Subhash Ghai is not third time lucky. Alwyn Kalicharan and Gundappa Vishwanath worked big time, Yuvi fails to the core, and not even the extra “V” helps here. The problem is not with the names, it is with the content and the assembly of caricatures he is dealing with. Somebody has to shake up the big daddy of bollywood like (Jambvant did to Lord Hanuman) and remind him of his powers.
So here is kahaani Cello aur Sallu ki…
Gyanesh (Anil), Deven (Salman) and Danny (Zayed) are sons to multi-billionaire Yogendra Yuvraj Singh (Jawed Sheikh, Thank God – Yograj Singh is spared here) from his two wives and they live in London. Gyanesh (an autistic but music genius), gets more care, attention and love from his father. Deven and Danny hate Gyanesh because of this and torture him whenever possible. Deven fights with his father on this and leaves to live in Austria and struggles to make a career in singing. He gets support from his girlfriend Anushka (Katrina) and the music group. Anushka’s father (Boman) doesn’t approve of this relationship. Deven’s father die and he flies off to London to claim his share in the property to be able to marry Anushka. There he has to struggle with Danny and a bunch of baddies – Mamaji (Anjan Srivastava) and party. The family attorney (Mithun) reveals that everybody except Gyanesh will get only peanuts from the property. In case anything happens to Gyanesh, everything will go to a trust to be managed by Mamaji. Deven and Danny are enraged and they try all tricks in the book to convince Gyanesh that they are his true well-wishers. This is followed by Mamaji conspiracy theory and then all well that ends well.
Sometime back Subhash Ghai announced a prize of Rs. 1 cr. to any writer who brings in an original script for a bollywood film. Watch this film to understand why that announcement was made. It’s beyond the level of understanding how the veteran and genius writers Kamalesh Pandey and Sachin Bhowmick have delivered such a bad screenplay (along with Subhash Ghai, of course). Dialogues are remarkably bad. Omung Kumar is still in “Saawariya” chatak-matak hangover, he should come out of it soon. Nothing imaginative in the choreography by the giants – Ahmed Khan, Shiamak and Chinni / Rekha Prakash.
Performances: Salman had got one of the biggest opportunities to prove himself, but he disappoints. Looked like he is walking in becoming “Be-dum” after a 10-Ka-Dum shoot. The whole of the film he kept on working on coloring his hair and getting all possible ghastly hair-weaving done, leaving it completely out of sync. His dialogue delivery is plain bad. Zayed Khan belongs to the league of extraordinary gentlemen (some other members already there are Rajeev Goswami, Kunal Goswami, Rajeev Kapoor, Puru Rajkumar, Rohit Kumar, Krishan Kumar, Suneil Anand and Mimoh, to name a few). I am dead sure he is going to continue till he gets a national award for one of his film, and then we will become habituated of him. It’s utter shame for an actor when audiences break into laughter while he is performing a serious or emotional scene. Unfortunately this happened here for both the (above mentioned) gentlemen’s performances. Katrina would have known by now that emotions are not her cup of tea. Better stick to the Akshay starrers / comic-capers and those “Zara Zara Anglo” songs. Anil Kapoor does relatively more justice to the role, but it’s not more than a derivative of roles he has already done in “Beta”, “Kishen Kanhaiya” and “Eeshwar”. Boman Irani is getting the most whacky roles and bizarre get-ups in this calendar year. Hope he gets it alright in next week’s “Sorry Bhai”. Aushima Sawhney does an alright job. Rest all have nothing to rave about.
Ghai sahib – please go back to your basics. Strong character actors and dreadful villains used to be the backbone of your high-voltage dramas. Where have Loin, GNK, Sir Juda, Dr Dang, Pasha, Chuniya Chacha, Sir John, Bad Man and Jagavar Chaudhary disappeared, whom we cherish till date?
Music: It’s right music in wrong film. It gives a shudder in the spine by just imagining Katrina, Zayed and Salman mouthing Gulzar’s poetry on screen. Subhash Ghai needs Sameer for lyrics and some jhin-chak-jhin-chak dhina-dhin-ta Laxmi-Pyare brand music (may be worth trying Anu Malik and Nadeem Shravan) for his films – with this type of star cast. Gulzar and Rahman are way too classy for this affair. Three tracks – “Tu Muskura”, “Tu Hi To” and “Dil Ka Rishta” are composed decently. Alka Yagnik’s singing in “Tu Muskura” is the only one which is soulful. Rest all is passable.