Farah's Wit and Shahrukh's Charm

Illogical. Insipid. Outrageous. Extreme. Confused. Call it what you will, but there is no denying the fact that Om Shanti Om is one of the most entertaining films to release this year. Scratch that. It's one of the most entertaining films to release in a long time. Those who choose to actually analyze the film may find it reeking of flaws, but it is their mistake if they honestly think Farah Khan wanted to create a film that makes you think. Because what Farah has created is quite the opposite: it makes you laugh; it makes you smile; and it makes you believe that sheer entertainment is worth choosing over thoughtful cinema any day.

A parody of two generations of cinema, beginning with the 70s and later focusing on the new millennium, OSO tracks the life of junior artist Om Prakash Makhija (Shahrukh Khan) and his fascination with popular actress Shantipriya (newcomer Deepika Padukone). Somewhere along the way a reincarnation saga very reminiscent of Karz is introduced, and next thing you are dealing with starry brat Om Kapoor (SRK again), popularly known as OK. Without giving away too much of the story - although most of it is very much available online - there are also interesting characters in the forms of Pappu Master (Shreyas Talpade) and villainous producer Arjun Rampal.

Similar to Main Hoon Na, much of OSO is a parody of the film industry. What sets OSO apart from its predecessor, however, is that it is truly a laugh riot for the first two hours, at least, if not more, and never tries to become too serious. In edition, as a director Farah has improved leaps and bounds in terms of creativity and wit; it truly is a very clever film with so many digs at film cliches and stereotypes that film aficionados would be more than pleased with her efforts.

Watch out for scenes such as the South Indian shooting ("Mind it") scene, the 'all organ failure' film shoot and the Filmfare Awards ceremony; people who watch enough Indian films will know how hilarious and yet true the jokes are.

Also, every actor and actress under the sun makes an appearance in Farah & Shahrukh's labor of love. It really is heartwarming to see the support and unity that ties the industry together and shows that, despite the fights, drama and reported heat, they are willing to all come together and return the same good will that people like Farah and Shahrukh have shown them in the past.

Speaking of which, it's commendable that Shahrukh can take on two completely different roles (and many roles within these roles), make fun of himself (think Mohabbat-man, his tendency to arrive late on the sets and his identical Filmfare nominations), romance a heroine 21 years his junior and still come off convincing. He's lovable, he's charming, he's cute and he's funny. And he's not just being Shahrukh Khan. You can tell how much he loves this film, being produced under his banner and directed by one of his best friends, and Shahrukh clearly puts in his 200%. So if Farah tells him to build a six-pack and go Village People on the audience by dancing in a shirtless firefighter getup, he does it. And if she tells him to put on a red leather cowboy suit and fight a stuffed tiger, he does that, too. And never once does he come across like he's trying too hard.

Shreyas is also superb as Shahrukh's second-hand man, particularly in the first half. He's truly talented and oddly similar to fellow comedy colleague Ritiesh Deshmukh in both looks and style. It's a shame that Shreyas has to take a backseat in the second half, because he is at his best pre-intermission.

Arjun adds style and persona to the negative role he is given. He has come a long way over the years (and this is after he had already impressed in earlier films like Aankhein and Moksha), and he is sure to be talked about after OSO.

As for the alleged 'Find of the Year', Deepika Padukone, she more than lives up to the hype. Farah and Shahrukh have very smartly handled Ms. Padukone's debut, in that they do not give her any histrionics to display. Instead, she has a simple yet glamorous role and does very well with it. In addition, she looks absolutely stunning and excels in the dance sequences as well. Finally, there is a new find who not only looks good and dances well but has actual acting talent and potential, too! One thought that with all the know-nothing models walking around attempting to act of late, there would be no hope for finding future female acting talents, but Deepika defies that logic and makes the most of her debut. She will surely get offers galore. As mentioned, there may be nothing exceedingly difficult for her to do in terms of performance, but her dialogue delivery and expressions are spot on, particularly in the latter portions of the film.

The songs are all in good fun and a treat to watch. Deewangi Deewangi is the most thrilling due to cameos from virtually the whole industry (one cannot help but wonder where Sushmita Sen, Aishwarya Rai and Kareena Kapoor are, however). Dhoom Taana is hilarious to watch, while Aankhon Mein Teri (Ajab Si) and Main Agar Kahoon are beautiful in terms of lyrics, vocals and melody.

The only downside of the film is that it gets carried away in the last half hour. The climax is a little over the top, but a so-so final 30 minutes are more than forgiven when the first 2 hrs and 15 minutes are full of pure entertainment. And do not leave during the end credits - it is highly admirable that Farah gives each and every unit member a moment to shine. She clearly recognizes the worth of her entire team, and her own appearance at the end is sure to put a smile on your face. Gauri Khan looking positively radiant is also one to watch out for.

Verdict? Absolutely recommended. But if you're looking for logic, don't say I didn't warn you.

Babies are cute (as are Akshay, Ritiesh and Fardeen)

I'm just going to tell it how it is. When you have three cute actors sharing warm, fuzzy moments with an adorable baby girl, you are bound to be intrigued enough to survive a film that is about just that. Heyy Babyy, contrary to popular belief, is not a rehash of Three Men and a Baby. Sure, the premise of three single men finding an infant girl at their doorstep is lifted from the Hollywood hit, but with Sajid Khan at the helm as first-time director, there is bound to be a good amount of Indian masala thrown in.

Hence, we have three Indian playboys settled in Australia, romancing as many as 15 actresses in one night (and in one song). We also have a high quotient of Hinglish spoken throughout, blended with borderline crude jokes that could only come from Sajid himself. In fact, as the film starts, you feel slightly uncomfortable watching it while in a family setting (wasn't this supposed to be about fatherhood, babies, tears, laughter etc.?). Luckily the film sobers down with the arrival of the baby, and it is rather rib-tickling watching Akshay Kumar, Fardeen Khan and Ritiesh Deshmukh trying to handle the baby girl.

There's no point delving too much into the plot: firstly, because there isn't really a consistent plot and secondly, because the film honestly isn't so much about the story as it is about the chemistry among the three actors and between them and the child. This is precisely where the film works, as the three lead males make a good enough trio whom you can tolerate for the two and a half hours...(more or less). And the baby is so damn cute that each time she comes on screen, you kind of just sit there and let out an 'aww'.

The emotional scenes are also surprisingly handled with care and ease by the mostly comedian director. Yes, there is some going over the top, particularly as the film reaches its climax, but then that is where the old-school Indian factor of the film really kicks in.

The main problem actually lies in the film's imbalance. It's almost as though Sajid is confused as to whether he's after a comedy or an emotional drama. He seems to strive for both here and, while it's a fairly good attempt, there is so much back-and-forth between the comedy and the drama that sometimes you don't even know if you are meant to laugh or cry. It's not a huge problem, but it gives an unwanted level of inconsistency to the script.

Also, some scenes are plain over the top, and dragged out beyond what's necessary. One such example is the fight between Ritiesh and the children before he loses his job; it looks a funny concept in the first minute or so, but then the entire sequence proceeds to last well over 5 minutes. Another such scene occurs when Akshay and Ritiesh disguise themselves as Arabs in the restaurant - comedy is usually best when it is straight to the point, and Sajid should have known better in instances such as these. The climax is also a bit of a drag at one point; you almost ask them to just end it already!

Nonetheless, there are enough redeeming factors for you to sit back and enjoy the film. The aforementioned chemistry, for starters, and the performances from the principal players. Akshay is by now a veteran when it comes to comedy, and he does not disappoint here. He also does well in the emotional scenes, proving that he can play the all-rounder part when required.

Ritiesh is yet another mainstay in comedies nowadays, and once again he shows why. He seems to have this natural approach to acting that a lot of Indian actors are without - no shouting his lines, overdoing the expressions - he just performs the role how it is. One hopes he will stay away from the likes of Cash and other such films that will peg him back in his early career.

Fardeen comes across as a surprise. This is one of his better performances, after being overshadowed by Anil Kapoor and Salman Khan in his last comic outing, No Entry. His Parimal/Chupke Chupke tribute is rather amusing, and almost a jab at the critics who are constantly after his Hindi-speaking capabilities.

Vidya Balan appears in a Westernized role for the first time in her career, and she both looks great and performs well. She doesn't show up until the second half, but she will definitely be appreciated for trying something different. Boman Irani is himself - goofy and uptight at the same time.

Shahrukh Khan's not so private guest appearance is amusing; SRK lights up the screen as always, even though he's there for all of 2 minutes.

Special mention to the baby simply for being one of the cutest babies ever.

The music is not exactly Shankar, Ehsaan and Loy's best, but there are enough tracks to take home with you. Mast Kalandar is the obvious favorite, while Dholna is more than a makeshift romantic number. Meri Duniya Tu Hi Re is one of the nicer parent-child songs in a while and is particularly elevated by the trio's chemistry with the baby.

All in all, it's very sweet to watch, that's for sure. One would still expect more from someone as funny and creative as Sajid, however, it's a nice and refreshing break from the sex and money based films one encounters these days. He's no match for his sister Farah Khan - her Main Hoon Na was a far better directorial debut - but there's definite promise. Not to mention, the most recent comedy that comes to mind is the intolerable Partner, so after that...this comes as somewhat of a blessing.

Verdict: Worth a watch.