2.5 stars
Well, without mincing my words, I must avow that critiquing a David Dhawan comic caper is fallacious because each and every masalathon of the consummate master of entertainers is set in his own ostentatious world, aimed exclusively at the hoi polloi. Being a remake of the mightily successful Telugu romantic comedy Kandireega (2011) -- MAIN TERA HERO brings together the father-son duo for the very first time -- the basic premise has been altered a la David Dhawan's own modus operandi of laughathons.
Let me rationalize the plot first! Srinath Prasad fondly called as Seenu (Varun Dhawan) is dikhne me cute, innocent aur swami type ka but at core, he is haraami type ka. He is a high school drop out in Coonoor. Mr. Prasad (Manoj Pahwa) provokes Seenu to get a degree from a reputed university, citing exemplar of Seenu's friends making it big in their lives. Seenu promptly decides to leave for Bengaluru for his higher education. On the first day at college, Seenu falls head over heels in love with Sunaina (Ileana D’Cruz). But the one-sided affair goes contrariwise when he realizes that the love of his life is betrothed to Angad Negi (Arunoday Singh), a bruiser policewala goonda, much against Sunaina's wishes. As luck would have it, Seenu finally wins Sunaina's heart, leaving Angad baffled. But Sunaina gets kidnapped by a don based in Bangkok, Vikrant Singhal (Anupam Kher), whose daughter Ayesha Singhal (Nargis Fakhri) -- whom Seenu had saved from local goons in the train en route to Bengaluru -- is in love with Seenu and wants to marry him and her Dadzu (read Dad) is left with no choice but to forcibly coerce Seenu. The comedy of error ensues and how Seenu becomes the Hero eventually, forms the apogee.
As mentioned at the outset, writer Tushar Hiranandani transforms Kandireega for the Hindi movie audience, which is frankly a been there, done that, got the T-shirt experience. The sequences are so designed in order to redefine the words 'screen presence' by bel esprit Varun Dhawan, who integrates father Dhawan's peers' cool (Salman Khan) and energy cum dance moves (Govinda), mouthing quick-witted dialogues (Milap Zaveri) -- which are though off-colour at some points but howbeit ne plus ultra of the enterprise aimed at the masses. Take these for instances: Varun talking to Ganpati idol, "Main sirf teen logo ka fan hu, TV me Amitabh Bachchan ka crorepati, Tennis me Bhupati aur Bhagwan me Ganpati."
In another similar scene where Varun does the talking to Lord Krishna's idol, "Rajkapoor jii ka ramaiya vastavaiya, jeetu jii ka taathaiya taathaiya aur bada natkhat hai re krishan kanhaiya."
Varun shouting at girls in the train scene, "Main tumhare phone ka touchscreen hu kya jo baar baar touch kiye jaa rhi ho." And in the same scene, he tells a goon, "Tere babu ko itna maaruga naa ki aaj ke baad naa baba paida kar payega naa baby."
Without expecting much intelligence from the audiences, the humor in the first half works due to the vitality of junior Dhawan. Stamps of David Dhawan's trademark style are palpable to the core with lavish production design (Sukant Panigrahy) -- breathtaking, modish costumes (Kunal Rawal, a consummate master of outfits) -- eye-catching, made to order cinematography (Sanjay F. Gupta) capturing the scenic locales of India & Bangkok with zest and already-a-rage music (Sajid-Wajid). The direction is simply phenomenal/justifiable for executing a mindless entertainer like this with a paper thin plotline.
On the flip side, clocking on the dot at 128 minutes, the editing (Nitin Madhukar Rokade) is exhausting as the movie shifts its base to Bangkok in the second half. The scenes & humor start getting flat and repetitive. Right from jokes on Katrina Kaif's hindi to Emraan Hashmi kissing know-how, the targeted-at-masses humor is nonsense. The scenes start off and end abruptly without any purpose whatsoever. Songs, though highlighting the mood, pop out of nowhere. Ditto for the stunts (Mahendra Verma), targeted only at the front benchers. Ideally, the film should have ended at the intermission point, but the over-stretched low on IQ scenes act as killjoy, with no relevance to the proceedings. I do agree that a David Dhawan masala outing remains same but haven't Mr. Dhawan himself milked this genre dry? The characters are introduced and forgotten immediately. Right from Ileana getting kidnapped to her marriage in the climax, the audience gets the glimpse of her parents only in Angad's backstory in the first half. The take-off of Badtameez dil song, Shakti Kapoor scenes and the whole of Anupam Kher's scenes just add length to the film. Above all, there's sequel to kissing scenes as well. Glaikit! The climax too, is hurried. In short, David Dhawan has used all the ineluctable requirements to make this a wholesome entertainer but the result is nothing sort of run-of-the-mill cliched.
Varun Dhawan is supremely talented upto the hilt but goes over-the-top this time as per the demand of the script. One cannot take eyes off from his torso and flexing muscles. He is the next big thing in days to come, beyond the shadow of a doubt. His act is sure to bring the house down with au fait comic timing and impeccable dancing skills. Wow! Evelyn Sharma, Raju Kher, Shakti Kapoor, Saurabh Shukla and Shireesh Sharma are wasted downright. Ileana and Nargis Fakhri are competent, in plain words, with nothing much to exhibit. The men take the lead here. Arunoday Singh's body language emits villainy. Fantastic! Rajpal Yadav provides genuine laughs. Anupam Kher is naturally funny. Manoj Pahwa and Supriya Shukla are all right.
On the whole, Main Tera Hero is a must for David Dhawan's loyalists. His direction stands tall while over-the-top plot and forced scenes badly fall. Dedicated cinephiles just wait for the DVD release.
first appeared on http://www.desimartini.com/movies/main-tera-hero/md2985.htm
Well, without mincing my words, I must avow that critiquing a David Dhawan comic caper is fallacious because each and every masalathon of the consummate master of entertainers is set in his own ostentatious world, aimed exclusively at the hoi polloi. Being a remake of the mightily successful Telugu romantic comedy Kandireega (2011) -- MAIN TERA HERO brings together the father-son duo for the very first time -- the basic premise has been altered a la David Dhawan's own modus operandi of laughathons.
Let me rationalize the plot first! Srinath Prasad fondly called as Seenu (Varun Dhawan) is dikhne me cute, innocent aur swami type ka but at core, he is haraami type ka. He is a high school drop out in Coonoor. Mr. Prasad (Manoj Pahwa) provokes Seenu to get a degree from a reputed university, citing exemplar of Seenu's friends making it big in their lives. Seenu promptly decides to leave for Bengaluru for his higher education. On the first day at college, Seenu falls head over heels in love with Sunaina (Ileana D’Cruz). But the one-sided affair goes contrariwise when he realizes that the love of his life is betrothed to Angad Negi (Arunoday Singh), a bruiser policewala goonda, much against Sunaina's wishes. As luck would have it, Seenu finally wins Sunaina's heart, leaving Angad baffled. But Sunaina gets kidnapped by a don based in Bangkok, Vikrant Singhal (Anupam Kher), whose daughter Ayesha Singhal (Nargis Fakhri) -- whom Seenu had saved from local goons in the train en route to Bengaluru -- is in love with Seenu and wants to marry him and her Dadzu (read Dad) is left with no choice but to forcibly coerce Seenu. The comedy of error ensues and how Seenu becomes the Hero eventually, forms the apogee.
As mentioned at the outset, writer Tushar Hiranandani transforms Kandireega for the Hindi movie audience, which is frankly a been there, done that, got the T-shirt experience. The sequences are so designed in order to redefine the words 'screen presence' by bel esprit Varun Dhawan, who integrates father Dhawan's peers' cool (Salman Khan) and energy cum dance moves (Govinda), mouthing quick-witted dialogues (Milap Zaveri) -- which are though off-colour at some points but howbeit ne plus ultra of the enterprise aimed at the masses. Take these for instances: Varun talking to Ganpati idol, "Main sirf teen logo ka fan hu, TV me Amitabh Bachchan ka crorepati, Tennis me Bhupati aur Bhagwan me Ganpati."
In another similar scene where Varun does the talking to Lord Krishna's idol, "Rajkapoor jii ka ramaiya vastavaiya, jeetu jii ka taathaiya taathaiya aur bada natkhat hai re krishan kanhaiya."
Varun shouting at girls in the train scene, "Main tumhare phone ka touchscreen hu kya jo baar baar touch kiye jaa rhi ho." And in the same scene, he tells a goon, "Tere babu ko itna maaruga naa ki aaj ke baad naa baba paida kar payega naa baby."
Without expecting much intelligence from the audiences, the humor in the first half works due to the vitality of junior Dhawan. Stamps of David Dhawan's trademark style are palpable to the core with lavish production design (Sukant Panigrahy) -- breathtaking, modish costumes (Kunal Rawal, a consummate master of outfits) -- eye-catching, made to order cinematography (Sanjay F. Gupta) capturing the scenic locales of India & Bangkok with zest and already-a-rage music (Sajid-Wajid). The direction is simply phenomenal/justifiable for executing a mindless entertainer like this with a paper thin plotline.
On the flip side, clocking on the dot at 128 minutes, the editing (Nitin Madhukar Rokade) is exhausting as the movie shifts its base to Bangkok in the second half. The scenes & humor start getting flat and repetitive. Right from jokes on Katrina Kaif's hindi to Emraan Hashmi kissing know-how, the targeted-at-masses humor is nonsense. The scenes start off and end abruptly without any purpose whatsoever. Songs, though highlighting the mood, pop out of nowhere. Ditto for the stunts (Mahendra Verma), targeted only at the front benchers. Ideally, the film should have ended at the intermission point, but the over-stretched low on IQ scenes act as killjoy, with no relevance to the proceedings. I do agree that a David Dhawan masala outing remains same but haven't Mr. Dhawan himself milked this genre dry? The characters are introduced and forgotten immediately. Right from Ileana getting kidnapped to her marriage in the climax, the audience gets the glimpse of her parents only in Angad's backstory in the first half. The take-off of Badtameez dil song, Shakti Kapoor scenes and the whole of Anupam Kher's scenes just add length to the film. Above all, there's sequel to kissing scenes as well. Glaikit! The climax too, is hurried. In short, David Dhawan has used all the ineluctable requirements to make this a wholesome entertainer but the result is nothing sort of run-of-the-mill cliched.
Varun Dhawan is supremely talented upto the hilt but goes over-the-top this time as per the demand of the script. One cannot take eyes off from his torso and flexing muscles. He is the next big thing in days to come, beyond the shadow of a doubt. His act is sure to bring the house down with au fait comic timing and impeccable dancing skills. Wow! Evelyn Sharma, Raju Kher, Shakti Kapoor, Saurabh Shukla and Shireesh Sharma are wasted downright. Ileana and Nargis Fakhri are competent, in plain words, with nothing much to exhibit. The men take the lead here. Arunoday Singh's body language emits villainy. Fantastic! Rajpal Yadav provides genuine laughs. Anupam Kher is naturally funny. Manoj Pahwa and Supriya Shukla are all right.
On the whole, Main Tera Hero is a must for David Dhawan's loyalists. His direction stands tall while over-the-top plot and forced scenes badly fall. Dedicated cinephiles just wait for the DVD release.
first appeared on http://www.desimartini.com/movies/main-tera-hero/md2985.htm
No comments:
Post a Comment