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Mediocre lines are converted to lame by some awful timing and some rock-solid misdirection. Save a couple of interesting characters performed well, there's nothing at all watchable in this 150-minute ordeal.
The heart - it is allowed to behave like a child; especially when it's in lhhove and all. But what is unacceptable is to allow a kid - however grown-up he might be - to write a full-length feature film. The situations are amateur and the play on words is childish. If you are not convinced of the low standards of story and dialogue writing in the first two hours, watch out (if you are going to watch that is) for the down-market climax.
Within the first few minutes of the film, the three lead characters and their problems are presented to you. This is done as plainly and as non-creatively as possible - which is true of the rest of the narrative too. It is literally Ajay Devgn's love story - cut - Omi Vaidya's love story - cut - Emraan Hashmi's love story - cut - repeat. Within the first few rounds, you can predict where the next cut in the story is going to take you. To the next of the three characters and whatever he is upto next.
Only that, whatever is happening in his life next is pretty much similar to what happened last. Ajay Devgn is the clueless, middle-aged boss falling helplessly in love with a girl almost half his age. And he keeps falling in love. There's nothing out of this world that this actor is required to do. Emraan Hashmi (they call him Abby) is the playboy -- surprise! -- who is always thinking of the next girl to take to bed. Even when he likes one more than the others, it seems like he has only one aim in mind. A been-there-done-that for him too. Omi Vaidya (Milind Kelkar) is a simpleton and proud of it. Once he falls in love he lets the woman take him for a ride. Again and again. Omi's performance was almost a repeat of his 3 Idiots character. Also his timing is completely off. He actually had a couple of good lines which are completely given away by the way he said them
Now apart from these repetitions, there was this constant nag. I am rooting for no one. Not even the good-natured, squeaky-clean-at-heart, aawww-so-sweet-that-he's-boring Milind. And I think a lot of it had to do with timing. Maybe just maybe, the lame lines I was complaining about might have been tolerable if they were delivered as quickly as a comedy requires them to be. An extra pause here, a moment of thought there puts an ailing dialogue to sleep.
In the midst of some dreadful writing, it is disproportionately refreshing to see some sort-of variety in character for a couple of the women in the film. Not that the details are deeply thought through, but since they are performed reasonably well, they provided some relief in the otherwise plain narrative. Tisca Chopra as the woman going through mid-life crisis and Shraddha Das as the woman who can misuse people around her were the only source of relief - the characters as much as the actors themselves.
On the other hand, Shruti Hassan has the flattest dialogue delivery ever and it got too damn annoying even if it was a smaller role compared to the others. And it is difficult to judge if Shazahn Padamsee can act if all she has to do is chirp, "please please please please please." Sure, her character requires her to do that, so we will save judgment until she gets some real dialogue.
And what's with Madhur Bhandarkar paying a tribute to all his films? Just when you are wondering if a glimpse from Page 3 and Corporate are coincidental, you witness a ramp walk and a jail is thrown in too. Sure, his attempt is not as in the face as other self-referencing directors manage. And though it does sort-of weave in and out of the film, it is still distracting. Oh yeah, and there is the trademark referencing to homosexuality too. But this time around its really shoddy and stereotypical.
Madhur Bhandarkar's trial at exposing the big-bad world of love turned out to be a 75-minute wait for the interval followed by another 75-minute wait for it to end. You don't care how, you don't care why, all you care about is when.
- meetu, a part of the audience
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