#MeinuEkLadkiChahiye Hindi Bollywood Film movie review, #JohnsonThomas, Rating: *

#MeinuEkLadkiChahiye Hindi Bollywood Film movie review, #JohnsonThomas, Rating: *

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#MeinuEkLadkiChahiye(Hindi)Rating: * The most irascible film experience ever. Wayward, clueless narration make this fake-rape story seem like a herculean puzzle that’s impossible to put together. #AshwaniShukla #RaghubirYadav #AltairMedia #BVMFilms #AbhishekBindal

Hindi film review
Johnson Thomas

 A wild incoherent scramble!

Film: Meinu Ek Ladki Chahiye
Cast: Raghubir Yadav, Puru Chibber, Reecha Sinha, Zakir Hussain, Yatin Karyekar, Jyoti Guava, Rashee Bindal, Khushboo Purohit 
Director:  Abhishek Bindal

Rating: *

There’s no semblance of either script or direction in this offering. The narrative basically takes off on a wild goose chase incorporating elements that might offer some tantalizing appeasement to an audience that thrives on cheap immoral thrills. 
Govind is supposedly a well known lawyer with a loving family, consisting of doting wife Harshita(Jyoti Guava) and adoring daughter Mishrita(Rashee Bindal). But you wouldn’t have guessed at his occupation if you did not get to see the second half of this film. All through the first half, he and his assistant Shishupal(Puru Chibber) make wild calls to young and old woman alike- ostensibly there’s a purpose behind this madness. Both of them are even caught and put behind bars for this offence. They also stalk a young girl Deepa(Reecha Sinha)who sells flower arrangements at a roadside stall in the city. This was probably to fund the insipid Shishupal with some downtime to romance the damsel. 
Disconnecting from this is another thread of Firoz, an alleged rapist who is standing trial while his accusers are plotting vengeance on him for some perceived wrong-doing. While none of these threads of plot connect with any coherence, the narrative breaks off into family drama time with Govind’s wife and daughter abandoning him after they discover his predilections for harassing women by making innocuous  calls. To add some more ‘objectivity’ to the story there’s this maid servant in Govind’s house who dresses up better than the wife and appears to be overly curious about Govind and his stupid endeavors. Mashed together in this incoherent scenario is a meaningless item dance which props-up in the film even before you can settle in. All this mish mash ends up in a court of law where the falsely accused Firoz aided by Govind’s intrepid dramatics, finds himself absolved of all charges!
Anhishek Bindal story writer, scripter and director of this monstrously uneven, sloppily put-together offering should probably educate himself on the mechanics of filmmaking before he attempts the next disaster. This one  though, cannot be saved!


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