Shaan Khan

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  • Om Shanti Om:

    OSO is “bas deewangi deewangi deewangi hai”

    There are various categories and types of re-incarnation. A God denying Saddam Hussein was re-incarnated into a God quoting Saddam Hussein on losing his dictatorial powers. A girly man, Man Mohan Desai of the 70s was re-incarnated as a woman, Farah Khan, in the 2Ks. Even I, a person (while growing up), who was repeatedly told that I was selfish, self-centered, heartless, & cruel by my three sisters, was later (thanks to the hard knocks of life) re-incarnated as the only living man who knows what a woman wants. Let me assure you “What women want” is a very complex subject, and to those who are attempting to start on this path, to seek this knowledge, I would like to say, remember two sentences, i) “Really, that is awesome” (punctuate the really with a surprised look and a pregnant pause. Say this like you mean it, whenever she says anything) and ii) "Oh, my, my, you poor girl" (say it whenever you are not saying the previous sentence).

    The most complex case of re-incarnation that I have seen is that of the Big Bad Bachchalan. A super star of the year 76/77, Big B was re-incarnated every decade since then as a bigger and bigger flop actor. Today he is a lame horse struggling to cross the finish line. What is more complicating is that while he still exists in the 2Ks, he has been re-incarnated as a clone as well in the form of Lil C. Here is a case where a decent actor has been re-incarnated as a non actor.

    OSO is one such re-incarnation story. You do not have to believe in re-incarnation to enjoy this story. It is not as complicated as Big B’s re-incarnation saga. In fact it is a very simple and straightforward story of an unfulfilled man, who comes back to seek revenge against the person who killed him and his ladylove. Nonetheless, this sad and moving story is told in a fun filled over the top manner. The story in OSO becomes a platform to spoof the Bollywood of the bygone era (not necessarily just 70s/80s) as well as the contemporary Bollywood. The jokes, parodies & satire hit you nonstop. It is hard sometimes to listen to the dialogues because of the howling and laughter that engulfs the entire theater. I have never seen people have so much fun in any movie. I never knew this was possible. Interestingly enough everyone has his own take on the jokes. My mentor, Essac Bhai Khopdi who lives above the Sarvi Restaurant in Nagpada Bombay and has won many a Nawabi awards, thought that the blind/deaf and dumb and over the top SRK was a funny reference to Big B’s Black, while the good for nothing star son was Lil C.

    Rahim Chacha, my butler, who never likes to be outdone by Essac Bhai Khopdi, has his own views. He thinks that Big B was not invited to SRK’s Bollywood bash (i.e. the “bas deewangi deewangi deewangi hai” song in OSO) because Big B did not invite SRK to Lil C’s wedding. Although I may not entirely agree with Rahim Chacha, I do think in many ways, OSO is like this song. While “bas deewangi deewangi deewangi hai” gives you an inside look at a typical Bollywood party, OSO is SRK’s invitation to an inside look at Bollywood itself. Farha Khan has left no leaf unturned in making sure that all feel welcome and enjoy this SRK offering, especially the common laymen with little or no knowledge of Bollywood, but it goes without saying that some knowledge of Bollywood will give a viewer a more profound reason to chuckle. In this respect OSO is not as mindless or random as it appears on a superficial level. The jokes and the sequence of the jokes are all well targeted and serve a purpose. OSO is wicked, it is a laugh riot for those who do not know Bollywood and but infinitely more so for those that do.

    HR cameo was superb, but Akshay Kumar’s was even better. Govinda & Dharam Paaji were appreciated in the “bas deewangi deewangi deewangi hai” song but Kajol got the most whistles. Of all the parodies the one that I liked the most was about the insertion of a mindless item song with mindless words just to make the movie more commercially viable, yes I am refereeing to “Dar-E-Disco”. Hence, next time when you hear an item song such as “Kajra Re Kajra Re” you will know exactly the thoughts that went into its insertion. At the very least, after seeing OSO you wll know why Lil C is making a super hero film, “Darraoona”.

    Thanks to the advances in the technology, the unfolding of SRK's past is handled very effectively. The scene where he witnesses himself eavesdropping Deepika and Arjun is marvelous. Finally when “the moment of truth” dawns (at the Filmfare award ceremony) the reaction is just priceless. The look on SRK’s face and his voice (while receiving the award), captures the right amount of confusion, fear, and the acknowledgment of the new truth, without letting go of the awareness of the honor being bestowed upon him. All in all the Filmfare award scene puts SRK in a league never ever witnessed before in Bollywood.

    For SRK, OSO is another feather in his cap. As Om Makheja, his hamming is as believable as his seriousness was in CDI. It is a SRK you have not seen before. Just like no one could have played Kabir Khan as well as SRK, let me state that no one could have played Om Makheja as well as SRK. This is why SRK is an actor’s actor, the Don Jungli Billa KHaaaaan of Bollywood. SRK’s Om Makheja is a lovable looser, then as Om Kapoor, the brat, he kicks it up another notch. For me the icing on the cake, as far as SRK’s acting is concerned, was the underplayed and intimate scene where he tells his father that he will try to be a better son (and a better actor). Before I forget, let me state that the rest of the cast and crew, Arjun, Kiran, Shreyas, & Deepika are equally outstanding.

    OSO rocks. It is an, in your face, inside look into Bollywood. It is not too late to book your tickets for the next week-end. Some shows are still open but rush, don’t walk, OSO is worth it.

    posted 16 years, 7 months ago