In movies where satire rules incomparable and focuses on the mass gathering of people, the sentimental pair takes a rearward sitting arrangement. In Le Halua Le, an audacious parody that makes no intelligent demands at all, we have an adoration triangle to fight with, wherein the putting on a show to-be-poor gentleman takes the young lady home while the fruitful fellow raises a salute to the sweethearts.
N.K. Salil's screenplay and dialog in addition to the first storyline taken from the Malayalam hit (however the chief Raja Chanda gives himself kudos for the story) is kept basic. Furthermore, the executive, by keeping the peak short, makes it less demanding for himself to handle such a variety of veteran comics and on-screen characters together!
Mithun Chakraborty and Laboni Sarkar are superb in this account of mixed up characters. The move number with every life partner coordinating strides with the more youthful pair on a quick number, is silly and executed convincingly as well. The adaptable Rajatava Dutta is splendid as the government official who runs a mafia bunch with his fine mix of the comic and the wretched. He is extraordinary in the scene in which his missing little girl needs to get married with a man mimicking Mithun's child. After a state of time anyway, you are left pondering who will be who and where they are going. In any case, then that adds to the gaiety.
Soham, Hiran and Payal as the youthful adoration trio are entirely great, however they soon become dull in a situation loaded with skilled comic performing artists commanding the screen space. Among them are Kharaj Mukherjee, a much more seasoned, closefisted spouse of the youthful and lovely Locket Chatterjee who has plans on other men. Rajatava swings his firearm arbitrarily at everybody. Indeed, even Shantilal Mukherjee, as a police examiner has a couple of comic scenes.
Jeet Ganguly's music is not so much successful due to the aloofly set, picturised and choreographed tune move numbers that are repetitive. Payal Sarkar needs lessons in moving. Kumud Verma's cinematography and Rabi Ranjan Maitra's altering fit the no-test charge that the film requests.
The three stars are for acting, dialog and storyline.