MUMBAI: The advantage of sequels for the maker is that it helps cash in on the brand equity created by the earlier version while for the cine goer, |
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MUMBAI: The advantage of sequels for the maker is that it helps cash in on the brand equity created by the earlier version while for the cine goer, it gives hope of a good entertainment. But while on maker rests the burden of living up to the original, a cine goer is unforgiving when let down.
Bheja Fry 2 is one such attempt, considering its director did not even want to change the name of the movie, which just shows that the idea is only to cash in on the success of the first part.
On this count, it depends a lot on the original idiot of the gentry, Vinay Pathak. Alas, even Vinay Pathak would need a good script and original gags and the film falls way short here.
The first half has nothing to laugh about; there are no gags, no funny scenes only long drawn scenes pieced together. Finally you laugh at yourself for falling for this sequel trick.
Vinay Pathak has won a TV quiz showand a prize of Rs 2.5 million and a two-night three-day cruise. For whatever reason, the show‘s producer, Rahul Vohra, as well as his aides join the cruise; also, lured to join in thanks to Vohra‘s aide Minsisha Lamba is Kay Kay Menon, his only intention being to seduce her.
Kay Kay Menon is also running away from an income tax raid. Soon he realises that Vinay Pathak is an income tax officer who, he assumes, is tracking him. He decides to get rid of him by hook or by crook. Not a very plausible premise really; thinking this is supposed to be a comedy one may overlook the fact. But, then, where is the comedy? In an attempt to throw Vinay Pathak overboard, Kay Kay Menon also ends up falling in the sea. Both end up on a deserted island. Here till end, except for a few intermittent funny moments, the film falls flat. Gags which needed to be one-liners are long drawn and childish.
The film depends almost entirely on Vinay Pathak who, while still doing his idiot with native intelligence well, is becoming repetitive. Kay Kay Menon is okay, being the one to bear the brunt of Vinay Pathak‘s idiocy. Amol Gupte is too loud. No demands are made on rest of the cast and none proffered. Direction suffers sticking to the loose script with repetitive scenes. Editing is slack.
Bheja Fry 2 is an average fare not meeting the expectations created by its title.
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Producer: Karan Arora. |
MUMBAI: The title may have a touch of the contemporary but the chapter from Mumbai‘s crowded trading area is not; it lives somewhere in the myths about Bhindi Bazaar also known as Bombay No 3. The fact is the scene of action in Mumbai 3 was more centred on Dongri of yore.
The film likens moves of these small gangs from the area with chess moves though the popular game in such areas where unemployed youth abounded with the game of carom; chess was the game of nawabs, not petty pickpockets. However, the idea seems to be giving a touch of intelligence if that enhances a routine film somehow.
In the era of AK 47 and automatic guns wielding goons and supari killers spreading their tentacles internationally, Bhindi Bazaar Inc is about the power plays of a local gang. These areas of South Mumbai may still fascinate some but they are also the generators of businesses worth millions.
Pavan Malhotra is Mamu (his earlier film about the same locality, Salim Langde Pe Mat Ro by Saeed Mirza, should have been his inspiration here), the local gang lord whose underling aspires to be the next Mamu. The entailing deceptions and manipulations to become Mamu in place of The Mamu is what the film is about.
In the pursuit of being realistic, Bhindi Bazaar Inc spreads much blood and gore and exploits the surrounding of the locale well. Besides that, it has precious little to offer. Performances are balanced. The dialogue is bold but purely of local flavour.
Bhindi Bazaar Inc is a non-starter.
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Producer: Dhanraj Jethani. |
MUMBAI: Bin Bulaye Baarati is like a 1960s C grade film in its approach and content as well as treatment.
In this totally cliché ridden film, there are conmen, there are villains, innocent villagers and buffoon policemen; there are also two mandatory item numbers. The ingredients are put in a mixer and ‘Comedy‘ switch pressed. Wish it was so simple.
The police chief, Neeraj Vora, has a subordinate, Om Puri, whom he has superseded. Om Puri has a glad eye for the chief‘s wife, Rati Agnihotri, and hence, to be of help to them, Om Puri offers to take care of their house while pest control is carried out. The pest control guys clean up the chief‘s house of everything.
On the other side is Aftab Shivdasani, the quintessential hero of senseless film, who is romancing Om Puri‘s ward, Priyanka Kothari; they are on the run because he would not let them romance. There is Mukesh Tiwari with his side kick, Hemant Pandey; they are the liquidators of all the loot that the sinister villain, Gulshan Grover, brings to them.
This time the loot is worth Rs 500 million. To crown them all is Johny Lever with over amplified mannerisms of gay. The Rs 500 million loot has been looted unwittingly by the hero and there is a train chase on. The not so good and the bad all land up in a village with a mandatory mausi, a crackpot, Shakti Kapoor, a bewda who thinks he is a reincarnation of Keshto Mukherji and a couple of village chhammakchhallos. Every scene and comedy is so ancient this could be a reassembled film from the trash of a dozen old destroyed negatives.
This is not a film where even artistes would bother to display talent; the problem is that most even fail to hide the lack of it. Aftab Shivdasani leads the pack with Priyanka Kothari flashing her single expression whenever the camera is on her. Gulshan Grover is at his worst while Shakti Kapoor, playing a mad man, is his usual self since there is not much difference when he plays normal roles. Mukesh Tiwari is somewhat sincere while Hemnat Pandy is the most tolerable of the lot. Johny Lever needed some better lines. Direction is not evident anywhere. Other technical aspects are below the mark.
Bin Bulaye Baarati is poor.
