Rabba Main Kya Karoon story revolves around two brothers Arshad Warsi & his younger cousin brother Akash Chopra who is getting married lavishly in a typical Indian style in Delhi. Before the wedding, Akash’s elder brother Arshad Warsi and his three mama’s played by Paresh Rawal, Tinnu Anand and Shakti Kapoor teach him the...more
Rabba Main Kya Karoon story revolves around two brothers Arshad Warsi & his younger cousin brother Akash Chopra who is getting married lavishly in a typical Indian style in Delhi. Before the wedding, Akash’s elder brother Arshad Warsi and his three mama’s played by Paresh Rawal, Tinnu Anand and Shakti Kapoor teach him the key success to a happy married life and according to them that is “In Order to live a happy married life, one must cheat on his wife!". less
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Right during the opening credits, where there’s a credit for “Talent Grooming”, the movie goes cheekily meta while announcing what it’s about: “CHEATING.” Such is the utter lack of talent in this “lessons in cheating on your wife” turned “lesson in why cheating is wrong” masquerading as a film.
So we have Arshad Warsi, our hero Sahil’s elder brother convincing him to turn disloyal to his wife and giving tips about how not to get caught by giving examples about his uncles’ affairs; Paresh Rawal who gets caught with his mistress several times by his wife but convinces her she’s hallucinating as the mistress coolly walks away without a shred of panic, a spin on Hitchcock’s classic evocation and exploitation of the space beyond the cinematic frame in Rope (loljk); Tinu Anand who’s perennially paranoid that his wife will find his mistress’ bra, a subplot underscored by a “bra bra bra” chant in the background; another uncle Shakti Kapoor, now an expert womanizer after his “Bhaiya Bhaiya izzat lootna buri baat hoti hai kya?” escapades [link:http://youtube.com/watch?v=vYd2XcIxGBk&t=49m35s] 14 years ago.
There’s one, just one moment of pure grace, between Raj Babbar’s character and Sahil after the latter realizes that he had been led on the wrong path by the wily male relatives. We see Raj Babbar’s character gradually unveiling the person he is behind the stereotype he was portrayed as so far, but what follows is a character coming running towards them falling into the swimming pool, one of the film’s pathetic attempts at being funny (seldom slapstick; mostly verbose with puerile sensibilities), none of which are actually successful.