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Sameer Arya (Tusshar Kapoor), Pakiya Tiwari (Sharman Joshi), Gautam Sisodia (Kunal Khemu) and Martand Dhamdhere (Rajpal Yadav) are failures. In life, they have brought it to nothing, they have too little money to pay the rent, and think constantly new strategies to come to clay. Since sees Martand as in the neighboring house the beautiful Ritu (Tanushree Dutta) with their rich grandparents (Om Puri, Farida Dadi) feeds. The boys forge the plan that one of them is to marry the sweet girl to come to the family's wealth. But while they stand so stupid that all opportunities fizzle out - except for one: Ritu searches for her missing brother Jai and therefore the four pretend to be his friends.


Loud, long and laughing free - so you can almost summarize any comedy by Priyadarshan and save a detailed critique. The same annoying humor, the same old jokes that always typical hysteria seizures and confusion. If a more than elicit a yawn, you can already consider themselves lucky. Dhol is the latest coup by Priyadarshan and is based, like so many of his films previously on a South Indian hit, in this case the Malayalam hit In Harihar Nagar in 1990.

But not really matter what the concept is based, it is a bit tiring as almost all the ideas of the supposed comedy experts. Varying doing perhaps the occupation. This time Priyadarshan recruited a younger squad and already led by solid but shapeless Tusshar Kapoor. Sharman Joshi (Rang De Basanti) acts sympathetic , but unspectacular. It is surprising to see Kunal Khemu in the ensemble, its two first films were Kalyug and Traffic Signal but dramas. In his first comedy he reflected quite well. But the best way is Rajpal Yadav, the last in small supporting roles was at the right pain in the ass, but here as ugly duckling of the quartet has few on his side.

The crew is completed by the provisioned Om Puri, the bored Tanushree Dutta, the colorless Arbaaz Khan, the usual loud G. Asrani and Payal Rohatgi who wants to work your way from the cheap sex symbol to serious actress, and thus at least halfway succeeds - does convince particularly they do not anyway. Also behind the camera nobody runs on top form, certainly not Priyadarshan himself with his uninspired staging and dramaturgy tabs. Also not Pritam though he has some appealing song compositions in the film.

Of course, ultimately comes down out whether you like this kind of hectic and often clumsy humor or not. I do not like him - I despise him even because he only sees in this offensive unconcentrated and completely soulless little variation of timing and wit. Since one longs to Monty Python, by Peter Sellers, for sugar-Abrahams-sugar, according to British humor, Japanese-nonsense, according to Italian RambaZamba.

Priyadarshan, however, represents the decline of humor, for the lowest common denominator and a film culture of frugality. No risk, no intelligence, no talent. Two stars there generously for a few at the beginning and the average songs, but at the latest when at the end of the thriller subplot just bored, it is clear that once again Priyadarshan wants to bring a stale broth to the audience. I decline with thanks.


The title means the enemy of the world. Nothing less! What a story, say so! The enemy in question is drugs! From the wording of the title, we already said that the film is not going to be very funny. Yet it is Mehmood, comic actor of the 1960s and 1970s, who made ​​it in 1996. Already in decline, as an actor, he had not taken the camera from 1979. Dushman Duniya Ka was his sixth and final film as a director. It does not appear that the world of film lovers there is much lost.


The story is summed up in a few words: a united, loving family, well in all respects, that of Mahesh (Jeetendra) and Reshma (Sumalatha), parents of a good son, Lucky (Manzoor Ali), wise student, ideal boyfriend , do-it-take-over-va-overflow, will not be destroyed black scourge that the young man died. The rest of the script is only used to dress up this skinny frame and is as original as the original idea.


In wanting to venture into an ultra dramatic registry where it is not comfortable, the filmmaker falls flat. The film wanted militant and that's where the rub. It is simply ridiculous and pompous, totally missing its goal. The lesson is leveled at a bazooka. It remains to Bollywood, but not in the more subtle masala movies, the middle of the 1990s, which produced some masterpieces ... and also many great nanars. So get there a little humor. Waves that comical passages want are rude, heavy and repetitive. Unfortunately for the director, it is rather the tragic scenes that provoke laughter.

We knew, the good feelings do not necessarily make great works. But still! And again, it seems that Mehmood was directly concerned. Is it precisely because he was too he failed to distance themselves from a subject too heavy for him? His own son, Lucky, whom he destined the role of the dark hero who had started taking marijuana and refused to play. His hero also bears the same name, Lucky, in this feature film.


It was finally his youngest son who devoted. By making a bad pun - it's circumstantial - one can not say that Lucky has brought luck to him, since the insipid Manzoor Ali has not played thereafter. Mehmood was assigned the role of an ambiguous character, dealer and dealer, agent corrupter of youth, but moralizing. Wearing a grotesque name, Goat Baba, he bleats as he speaks, of course, and is also unlikely wearing a devil costume, with two red horns look great. It is so unbearable that it is hard to understand how young people are seduced instead of fleeing for his life.


Why, in this case, about this movie? Simply because as the author of this column, you will one day left trapped by the tempting and deceptive cover of a DVD. You will have seen a delicious Shah Rukh Khan share the image with Salman very sober and serious. Like an old canvas Shah Rukh and Salman yet friends? Nay! 5 minutes Salman appears as himself, exactly between the 79th and 84th minute. He goes out of his shooting caravan, chews a chewing gum, signs autographs, and then coated with a flattering immaculate outfit, wearing equally elegantly, he engages in an undulating dance. End of the item number .


Then we said, well great! This is not serious, it is nothing, it is only Salman after all. To be quite fair, though her ​​hair is absolutely grotesque (the wig Tere Naam ), his mustache is more successful than Shah Rukh Khan. Because, unfortunately for Shah Rukh, it's much worse. We had already seen wear a mustache in Paheli . A real mustache! There, he makes us to Hitler. His cameo lasts a quarter of an hour, at the beginning of the film, and it was bad for him: it was never as bad. For some reason, he spent about 10 of the 15 minutes he was on the screen to draw a large tongue thick at every turn. Bizarre! This was to be the design Mehmood had humor.


Shah Rukh is Badru, the rickshaw driver friend of Mahesh. On 18 minutes, he gets hit by a truck to rescue Lucky, aged seven to eight years old and already prey to a nasty man offering cigarettes to little boys to leave school. Well yes, tobacco leads to all disqualifications! Then torn between relief and revolt against an unjust fate. The relief: here finally rescued from a role as absurd! The revolt seen later, he would have let Lucky get crushed, it would have saved us 2 hours ¾ of nonsense and unease. We begin to dream of another film with such a scenario on the everlasting friendship between two orphans, Badru and Mahesh, the first and second supporting Reshma wife in their ordeal.


What these two actors were doing in that galley? Was it friendship for the old actor-director in decline? Shah Rukh had already coasted in Guddu . Was it for the illusion of doing a good deed, to turn in a good cause and the building of youth? Salman and Shahrukh were any specials. The mystery will remain unresolved. What good talk about the game of other players, proper punishment if the superstars are so bad? The audience can expect pleasant surprises.

Rest music, due to Anu Malik, who composed that of many other films with Baadshah of Baazigar to Main Hoo Na is the only bearable thing about this feature too, but lost in the middle of this great n Anything preachy, it is not enough to save him from disaster. In conclusion, given the poor to that point is anyway quite exceptional. Dushman Duniya Ka remains a curiosity filmography of Shahrukh Khan.

Dunno Y 2 Life Is A Moment following Dunno Y ... Na Jaane Kyon, is directed by Sanjay Sharma and Tonje Gjevjon. The film is written by Kapil Sharma, Tonje Gjevjon, Mona and Mona Klubben Krager. Its distribution includes Zeenat Aman, Kapil Sharma, Yuvraaj Parashar, Edith Roth Gjevjon, Tonje Gjevjon, Meera and Sadia Khan. Last week, the director Sanjay Sharma was shocked by the attitude of the Pakistani actress Sadia who refused to share a kiss with actor Kapil Sharma. She backed off citing problems she has on her return to Pakistan. She explained to the filmmakers that Pakistan remains a still very conservative country.


buddhuram dhol duniya gol

About Kalyan Panja

If you want to be in touch with him to know him more or to say a little hello, feel free to mail him at travtasy@gmail.com
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