Friday, October 24, 2014

#HappyNewYear #HindiBollywoodFilmMovieReview #JohnsonThomas Rating:*1/2

#HappyNewYear #HindiBollywoodFilmMovieReview #JohnsonThomas Rating:*1/2



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#HappyNewYear(Hindi)Rating: * ½  Extravagantly Foisted Fantasy. Sorely lacking in class, taste and creativity. Slapstick, forced humor and exaggerated posturing allows for little connect. Extremely low on benefits. Delinquent money grabber. Get a monster headache this diwali – most likely to enchant the hypochondriacs at the very least!  
#Shahrukhkhan #GauriKhan #YashrajFilms #AbhishekBachchan #DeepikaPadukone #RedChilliesEntertainment #MandviSharma #BomanIrani #FarahKhan #SonuSood #VivaanShah #JackieShroff
 
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Hindi Film Review
Johnson Thomas

Extravagantly Foisted Fantasy

Film: Happy New Year
Cast: Shahrukh Khan, Deepika Padukone, Sonu Sood, Boman Irani, Abhishek Bachchan, Vivaan Shah, Jackie Shroff
Director: Farah Khan

Rating: * ½

Slapstick Comedy pranks, heist mechanics and dance heroics form the bulwark of this monstrous effrontery on the money paying audience scouring for copious entertainment. Bollywood is famous for dishing out trash in a silk purse so-to-speak. And this one is no different. A lot of money has been spent to make this shoddy display of hyperventilating artificial theatrics look at the very least, fairly palatable. But it has all gone down the drain. This  ‘Titanic’ gathers more water in it’s weathered sieve like body than the original could ever have had.
Charlie(Shahrukh Khan) goes back to his old friends to avenge his father Manohar(Anupam Kher)’s humiliation at the hands of Charan Grover(Jackie Shroff). Vicky Grover(Abhishek Bachchan)  Charan Grover’s heir apparent and Nandu(Abhishek again) a govinda junkie are spitting images of each other so the plan for the heist planned to take place in the middle of a World Dance championships being held at the spectacular The Atlantis, Dubai, becomes much easier to plan. Add to the undistinguished team a middle-aged Parsi, Tammy (Boman Irani), his mother(Honey Irani)’s slave, projected as a Peter Pan like hunk lusted after by the middle aged burgeoning lot of Parsi women in his colony, A nerdy hacker Rohan(Vivaan Shah), a bar dancer cum dance school entrepreneur aspirant Mohini(Deepika Padukone) and an ex-army , film stunt/ Explosions co-ordinator Jack(Sonu Sood). Charlie is of the course the captain of this sinking ship and determines the route to the riches and also orchestrates it to a degree that appears criminally impossible.

Questioning implausibility in a Farah Khan movie is pointless I guess. So let’s not go there. But the problem here is much more than mere implausibility. It’s the sheer lack of application and lethargy in effort that is galling. Farah inserts her songs, dance and fights kitsch with unflattering regularity and there is simply no relief o be had. The songs are forgettable save for the Indiawale number, the dances don’t have the moves to either surprise or impress-such is the woebegone choreography on display , and the fights are orchestrated in forced confrontationist fashion and the execution is so  stretched out that it looks excessively caricaturist. The display of naked brawn (SRK and Sonu Sood) and the silhouette delectableness of a svelte looking Deepika also comes across as predictably premeditated. The lack of surprises in the plotting , the arrogance of a self-congratulatory premise and the errant preposterousness of over-the-top pop-patriotism makes it doubly difficult to suffer through in silence.   

The actors don’t lend any special emphasis to this irreverent irrelevance. Even the studded cameos from Sajid Khan, Honey Irani, Dino Morea, Prabhu Deva, Sarah Jane Dias, Malaika Arora Khan, Anuraag Kashyap and Vishal Dadlani are imminently forgettable- such is the nature of this beast.  


Farah Khan’s typical spoofy style has certainly gone out-of-fashion after that debacle titled ‘Tees Maar Khan.’ And all the song and dance cannot make this carelessly supine effort look remotely adorable. It’s simply out of date and completely out-of-fashion. That sense of playfulness we may have thought as original in ‘Main Hoon Na’ and ‘Om Shanti Om’ looks and feels terribly passé now. There’s no fresh perspective, creative thought or enlivening expressiveness available to make the terrible tedium of a three hour long sputtering engine look like a swank express train. The over-indulgence in facetious story telling, lack of refrain in plotting, non-alleviating structure and the sheer bedlam of formulaic inducements scattered around in pot-pourri assemblage make this experience a severe strain on the senses. Best suited to the hypochondriacs who may not have to feign an illness after watching this headache inducing monstrosity!

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