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Brides' a Rockstar, Rest All Prejudiced

  • Ankur Pathak

    Ankur Pathak (50 DM Points)

    Desimartini | Updated - February 07, 2014 1:06 PM IST
    3.8DM (3291 ratings)
    Mere Brother Ki DulhanWatch trailerRelease date : September 09, 2011

    This production house scored big when they released the endearingly earthy Band Baaja Baarat in December last year. Maybe some smart executive at the mammoth production came up with the genius idea that they could extend the wedding. Rehash it with scenes from unforgettable classics, bring two unusually refreshing top stars on set, add a song for every explanation and well, the glitzy razzmatazz is bound to follow.

    Thats exactly where Mere Brother Ki Dulhan slips. Where the average story, at times robustly imposing with strong emotional undercurrents, could have shown some remarkable restraint, the demand for a commercial aspect seems to have disposed off every thought that said, "Hold on. Breathe easy", and thus the conclusion is a hyperbole suffocating out of asthma.

    A plot that ridicules itself by saying, "Ye koi film thodi hai", tells the tale of Mr. Max-Three-Expressions Imran Khan (Khush), who with negligent dimensions, zero dramatic hunger, is assigned the task to find a bride for his London-based brother Luv. Luv, played over-dramatically by actor Ali Zafar - who deserves a more satisfying role than this - has painfully broken up with his half-Brit girlfriend (who we can clearly tell is to be recalled at a convenient hour)

    After trotting a few Northern cities, Imran Khan lands at Katrina Kaif's house. Turns out they've been acquaintances. She was once a kohl-clad, bidi-puffing rockstar chick, who staged rock concert at the Taj Mahal in broad daylight, to a response that'd unwittingly give Anna Hazare a complex. A flashback follows. Then they catch up.

    You know what is going to follow. Tiny, cute moments between the pair who is morally barred from seeing one another. Then the brother drops by.

    Now, even the audience can tell the story, and savor an elevated feeling of their spot-on Bollywood-sense.

    What Manish Sharma and Habib Faizal did to uncover Delhi to non-capital people, or what even a Rakeysh Mehra achieved, screenwriters of this template-like film are far from close to attaining. Clearly, it is not a film that has to flaunt Delhi as a character, but the essence and the verve of North India has a uniquely earthy charisma of it, which the film superficially accomplishes. And that too by involving in sidekicks like the mandatory buddies, who mouth one smart line after another, or through random people who exist purely to fill monstrous craters in already unneeded expositions.

    Where subplots were a necessity to complex things up, heres a script that takes its motives too seriously and then ridicules it on its own. Then it confuses by emotionally tangling itself.

    Katrina Kaif's Dimple, however is a stunner. With hues borrowed from Jab We Met's Geet, Tanu Weds Manu's Tanuja and from her own part - Jasmeet aka Jazz from Namastey London, Katrina makes Dimple her own and carouses with the persona that is assumingly the closest to her own personality (Or the one she owned when younger)

    A sensational rebel with an odd timing for spontaneity, Dimple is somewhere between Geet and Tanu. Although unapologetic at times, she melts like an ordinary girl when consoled and motivated. The sequences involving her quirkiness to the starkly contrasting Khush is innocent, glossy and yes, funny, simultaneously building an endearing camaraderie between the lead couple (which still couldve been explored better)

    Whereas Imran Khan's first a casually written random part, then it is executed with the same amount of cluelessness. With his limited acting skills that refuse to enlarge, the boy again, settles in a safe-zone pulling out the caricature part, with willful improvisation, or so it seems.

    Yash Raj Films again conjures a world where even a middle-class family holds a boastful extravaganza, where musicals are incorporated not to reveal information or to drive the plot, but to add color (plus a wedding film needs no excuse), where everyone looks as if they've been reincarnated from an extraordinarily content family's personal album, and wherein towards the end the characters end up reaching exactly where you saw them heading, at their very first sight.

    If you are the type who is wowed by a haunting screenplay, writer-director Ali Abbas Zafar will need to face the indifference, for it is largely ineffective. To see how glamorous you can make the next wedding in your family, watch Mere Brother Ki Dulhan. For Katrina Kaif who enters a much superior league of actors, watch MBKD.

    But dont be misled by the ridiculousness posing as authentic resolving schemes for internal family conflict. It could happen this way, anytime, but surely it cannot be dealt with likewise.

    I'm not stressing on the film's alienation from reality, but on the fact that seductively wrapped wedding cards can be so deceptively designed.

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