Some phoney, loony moments yet again

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A crazy drive: ‘Aagey se right’ is Bollywood’s new dose of street-smart buffoonery.
A crazy drive: ‘Aagey se right’ is Bollywood’s new dose of street-smart buffoonery.

Anuj Kumar


(Delite Diamond, Delhi, and other theatres)

A section of Bollywood is celebrating the absurd these days. Here comes the weekly delivery. As you know in this format first a few funny situations are written and then an effort is made to tie them up in the form of a script. Director Indrajit Nattonji rehashes the formula but the tie-and-dye is not smooth.

He does keep us anticipating that things will get aagey se right but it seldom rises above street-smart buffoonery. We used to think actors should be malleable, here characters are. The consistency is compromised for a few jokes.

Thankfully he has got Shreyas Talpade and Kay Kay Menon in substantial roles lending some weight to this frothy exercise. Shreyas plays a bumbling cop who loses his gun in a silly skirmish. Looking for the gun at all the odd places, he bumps into a terrorist (Kay Kay) who has come to blast the city but falls head over heels for a bar dancer (Shehnaz Treasurywala) losing hold of the mission as well as his Urdu. As he learns his lessons in Mumbaiyya Hindi from a local don (Vijay Maurya), the film gets its best scenes. They are irreverent towards a language but good fun nonetheless.

However, nothing more than a misfired shot!

THREE – Love, Lies, Betrayal

(DT Cinemas, Delhi, and other theatres)

Back to the phoney premises and wooden performances! Director Vishal Pandya has redrawn the same old triangle with infidelity at the vortex. The only difference is the location is scenic Scotland and the protagonists are as cold as the surroundings. They pretend to love without purpose, lie without conviction, and betray without passion.

A couple is going through troubled times. Anjani (Nausheen Ali Sardar), who is a violin teacher, has to run the house because husband Rajeev’s (Akshay Kapoor) business is refusing to take off. It is another matter that their dressing and living style don’t portray the gravity of their problem. The husband offers to sell the mansion they live in but Anjani is against the idea because it is the legacy of her late parents. Instead she opts to let out a portion on rent.

A bleary-eyed Sanjay (Ashish Choudhary) comes in as tenant. Within a couple of scenes the husband bares his heart to the tenant in a drunken stupor. And in the next Ashish traps Anjani in love. She realises her fault when she discovers that Sanjay is also after her property. She goes back to her husband only to be surprised all over again.

The plot is as stale as the tagline but Pandya has managed to imbue it with his mentor Vikram Bhatt’s stamp with some innovative thrills and turns in the second half. He is failed by a dialogue writer who seems to have worked overtime to be witty but the result remains largely cheesy. Then the cast refuses to emote even basic sentiments. Nausheen looks good only from certain angles and Akhay and Ashish fail to improve upon their reputation of logwoods.

The background is much better than the foreground!




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