Friday, 18 December 2015

Film Review | Dilwale

There are all Diwales in the film, but no story. There is romance in the film but no Deewangi.
 In his well-known style Rohit Shetty presents action and comedy with a pinch of romance and drama, but he forgot to serve a well written story. There are hues, laughter, blasts, amusement and fun but no soul at all. The film even doesn’t justify its title. Bulgarian don Randhir’s (Vinod Khanna) son Kali aka Raj (Shahrukh Khan) was a don himself like his father. One fine day he bumps into Mira (Kajol) during a chase and got swayed by her beauty and charm but only to know that she is the daughter of his father’s rival don Malik (Kabir Bedi). At a turning point they come head on with each other. Their ways parted and they choose a different life, of course to meet again after fifteen years when Kali’s younger brother Veer (Varun Dhawan) falls in love with Ishita (Kriti Sanon) the lovely younger sister of Mira. Story takes a turn when after fifteen years Kali and Mira face each other for the love of their lovable younger siblings. What happens next is pretty much predictable and stereo typed. 
Film Review | Dilwale | Shahrukh Khan, Kajol, Varun Dhawan, Kriti Sanon
Film Review | Dilwale | Shahrukh Khan, Kajol, Varun Dhawan, Kriti Sanon
First half of the film moves at a dull pace. it passes only in introducing the long queue of all major and supporting characters and director is not left with the time to let evolve the romantic chemistry between the leading pair know for their onscreen romantic pairing. Thus in a hurry he lifts the whole scene from Hollywood film ‘I Met Your Mother’ and cooks a fast food kind of romance in five minutes. Similarly the romance between Veer and Ishita is cooked like instant Maggie noodles in two minutes and he, latter on, discovers that it was hazardous for his life. Rohit Shetty seems in a hurry to shift from romance to his favorite forte called action. Whole screenplay is woven in a calculated order of comedy, romance, action and a song for a break, this circle keeps on repeating till end in a robotic manner.

it is so surprising that the age difference between Randhir’s adopted son Kali and real son Veer is fifteen years and more surprisingly difference of age between Mira and Ishita is also the same. After the deadly breakup Kali and Mira both shifted to Goa but they never met in all fifteen years but suddenly when Veer and Ishita start loving each other, Kali and Mira start travelling the same roads. Malik’s right hand who makes a false call to Mira about Kali’s back stabbing, turns into a caring brother in very next scene, but even then he doesn’t tell her the truth while he remains in contact with Mira in all these fifteen years. Eventually after fifteen years when Mira asks him he simply tells the truth without a hitch. What changed him, I am still surprised. The most surprising moment is when even after his car is overturned with a thunderous hit Kali, though injured, remains intact in his driving seat. In almost one minute long scene neither his head touches down the car’s roof nor he slip down. Now I realized why it is said that gravity fails in Rohit Shetty’s films. Raj Bhai! I need a similar seat belt in my car, will you modify my car please! In the anti climax Meera screams Sharukh’s real name Kali in the presence of all but even then in the very next scene Veer and Ishita doesn’t know their real story, I am unable to digest this even with Hajmola, Sir!

Shahrukh’s age has started appearing on his face since Jab Tak Hai Jaan. Kajol still looks stunning on screen, but her overdone makeup glares in the tram scene. Varun is following the footsteps of Govinda, but his overacting ruins the emotional scenes too. His old age ‘Do Ghari’ wala joke of sms era goes flat. Varun Sharma has a great comic timing but he is repeating himself here again. His ‘Pyar Ka Panchnama’ type of monologue goes over the top. Kriti Sanon is looking like a Barbie Doll, nothing else she has to do in a small role. Though when she is participating in a plan to reunite Kali and Mira, she reminds me of baby Anjali from Kuch Kuch Hota Hai. After a long time Johney Lever got a freedom to steer his comic act and he exploits the opportunity with a big thrust, though his accent starts irritating after a point. Sanjay Mishra in his small caricature role of Oscar definitely tickles the fun bones. Most hilarious scene is one where Mukesh Tiwari and Pankaj Tripathi tell a false tale of Ram Lal and Pogo to Varun Dhawan and Varun Sharma. You can fell down laughing at this scene, so instead of holding your stomach keep a hold on chair’s arm. I can’t stop myself to recall a scene from Coolie where Amitabh Bachan cooks an omelet while following a recipe aired on radio. Boman Irani is completely wasted.

Dilwale’s music is already ruling the charts but Manma Emotion Jaggey and Janam Janam are forced in the story and doesn’t add any value to screenplay while Tukar Tukar rolls at the end credits. Cinematographer Dudley captures the hues and grandeur of Bulgaria and Goa with par excellence which gives a huge canvas to the film. Sunil Rodriges action fits in Rohit Shetty’s style. Bunty Nagi’s editing is perfectly fine, but if he would have convinced Rohit Shetty then film might be shorter for fifteen to twenty minutes. Amar Mohile’s background score keeps the tone up.

If you are a die-hard fan of Sharukh-Kajol pairing and would do anything to have a glimpse of the duo then go and watch this film. Remember I said ‘Glimpse’ only. And you will get laughter and action in bonus. Before you go keep your brain in freezer, you will need one after two hours and forty minutes. I will give two and half brownies to Dilwale for the brotherly love it tries to reestablish.

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