Kismat (Dis)Konnection

Typically my reviews are thorough and detailed, but I've been told I need to make a marked effort to shorten my analysis to hold the attention of my faithful readers. As a result, I'm going to get straight to the point...Aziz Mirza, best known for his work with Shahrukh Khan in Raju Ban Gaya Gentlemen, Yes Boss, Phir Bhi Dil Hai Hindustani and Chalte Chalte, returns for the first time in a long time without Shahrukh by his side. And to make up for his old pal's absence from the film, he seems to have 1) coaxed Shahrukh into narrating the beginning portions of the film and 2) cast the undisputed King Khan clone, Shahid Kapur.

What we end up with is a strangely half-baked effort from an otherwise competent filmmaker. It's simple and sweet, sure, but for some reason there is something largely missing from Kismat Konnection. One is certainly the chemistry between alleged off-screen pair Shahid and Vidya Balan. Vidya not only looks too old opposite the ever baby-faced Shahid, but the two look far from on-screen lovebirds.

The next thing missing is a powerhouse performance from either of the leads. Shahid tries, but he tries a little too hard. He puts on his best Shahrukh expressions and essentially does a repeat of his Jab We Met performance. Vidya acts reasonably well, but her wardrobe remains ever atrocious, and the woman just looks some 15 pounds too heavy to be a leading lady.

The third and also important factor that's missing is good music. Save for Atif Aslam's new gem Bakhuda Tumhi Ho, there is no other track that really sticks with you. Aye Papi may be popular, but it is certainly no Mauja Hi Mauja.

Finally, what is missing is the ability to captivate and hold the viewer's attention. After a while, one can't help but wonder what the film is about. Is it a love story between two enemies-turned-friends or a social message about respecting the elderly? In the end, the film seems to be about neither. Instead, we yearn for continuity and a purpose, one that the film overall clearly lacks.

Verdict? Worth a look purely for the sake of good old timepass. Ah yes, and it's nice to see Juhi Chawla back on-screen, even if she is some strange psychic.

Things Best Left Forgotten

The Priyadarshan/Akshay Kumar/Paresh Rawal has been alive and kicking since Hera Pheri proved an unlikely success seven years ago. Somewhere along the way, a Rajpal Yadav was thrown into the mix, and along came a progression of films ranging from hilarious to reasonably funny to downright awful. The team's latest offering, Bhool Bhulaiyaa, sadly falls into the latter category, making one wonder...should this team just give it a rest?

There's no point in getting into the story, because there isn't really a coherent one as such. Priyadarshan, much to our dismay, seems to have taken a leaf out of Ram Gopal Varma's book and opted to make his own comedy/horror flick, a la Darling. Perhaps someone should have informed Priyadarshan of Darling's unfortunate fate (and the pain it inflicted on the few of us who actually watched it)...

Actually, let me take that back. Before delivering the slightest warning on how RGV is no longer a source for inspiration, someone should have informed Priyadarshan that you should never, not even in your wildest dreams, cast Amisha Patel in your film. Her wrath remains unbearable, and her acting capabilities remain non-existent. One wonders how she even managed to get the role given this is not a Vikram Bhatt production...yes, that was most definitely an intentional innuendo...

As if casting Amisha was not enough, Priyadarshan then decides that he will not introduce Akshay until nearly the intermission. So every one's favorite comic boy is very much absent from the first hour of the film, if not more...subjecting us to more tears than laughs. And lo and behold, as soon as Akshay emerges from whatever hiatus that was, the film picks up and shows slight promise.

And that is when the director mixes in the RGV influence and decides to shoot for some lousy combination of The Exorcist and ...Dumb and Dumber? Yes, I was confused, too.

No folks, this is not a remake of any known film...it's just a horrid mixture of one too many genres. Hell, there's even a love triangle in there.

Oh, and wasting Akshay's talent was not enough ...Priyadarshan opted to sign on two of the most promising new kids on the block, Shiney Ahuja and Vidya Balan, was tarnish the reliable reputations they so carefully built with their first few films. (And, of course, there's Paresh Rawal who can only watch the proceedings and probably wonder what he's even doing in the film in the first place).

There's a nice tune or two...Labon Ko is the only one you vaguely remember after the debacle you were made to witness.

Priyadarshan, where did we go wrong with you? First Phir Hera Pheri, then Dhol and now this? Why don't you go back to making another Virasat? It looks like you've milked your comedies for all that they're worth.

Verdict? Best...Left...Forgotten

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.