Yamla Pagla Deewana Movie Review By Taran Adarsh.
In the 1970s and 1980s, Bollywood churned out hardcore masala films by
the dozens. Those films appealed to the 'Balcony Class' as well as the
'Stall Audience' [terminology used for dissecting the audience then].
Even today, films like SHOLAY, AMAR AKBAR ANTHONY, NAMAK HALAAL, DON,
ROTI KAPADA AUR MAKAAN, DHARAM-VEER, MUQADDAR KA SIKANDAR et al, the
most popular films of that era, appeal to the guy riding an auto
rickshaw as well as the CEO of a multinational company. Masala films, in
my opinion, can never go out of vogue. The gargantuan success of films
like DABANGG and GOLMAAL 3 last year endorses this viewpoint.
The reason why masala films tick to this date is because they have the
power to entertain. I've often heard my non-film friends comment that
cinema, for them, symbolizes an outing with their family. They want to
be transported to a world of make-believe in those 3 hours and forget
their worries/sorrows/trials/tribulations in the process. YAMLA PAGLA
DEEWANA does that and does so most convincingly.
YAMLA PAGLA DEEWANA is a tribute to the cinema of yore. Every rule in
the book that made hardcore commercial films major money spinners then
have been read minutely and integrated in the plotline of this one.
Generally, movie makers often claim that their film is hatke, that it
boasts of stuff that the viewer hasn't watched on screen before, but
YAMLA PAGLA DEEWANA makes no such claims. It is old wine bottled and
packaged in a new avatar.
What makes YAMLA PAGLA DEEWANA work? A variety of reasons, if you ask
me. One, watching the Deol parivaar in one frame is an experience in
itself. Two, drama, emotions and light moments are smartly integrated in
the narrative. Three, the punches [most of them] are thoroughly
enjoyable. Four, the entertainment quotient. Most importantly, it
delivers what it promised in its promos: Laughter and amusement. It's a
film that caters to the aam aadmi, who's keen on having a good time at
the movies. It's definitely NOT for the hard-nosed critics or fakes who
masquerade as champions of art house cinema.
But YAMLA PAGLA DEEWANA has a flipside too: The romantic sequences are a
bore and the music, barring the title track and 'Charha De Rang', is a
earsore. Even the climax fight is very, very formulaic. But, thankfully,
the plusses outnumber the minusses by leaps and bounds here. The second
half, to be specific, salvages the show to a major extent.
Final word? The fans of Deols, even those who had drifted away, are sure
to lap it up in a big way. Triple masti, triple mazaa, triple magic...
Go, get entertained without using your intellect. The film begins in
Canada, travels to Banaras and eventually makes its way to Punjab. The
father-son duo of Dharam Singh and Gajodhar Singh [Dharmendra and Bobby
Deol] are the biggest con-men in Banaras. Their happy-go-lucky existence
involves drinking and pulling off hilarious cons on unsuspecting
people. The only hitch in their perfect albeit notorious life arrives in
the form of Paramveer Singh Dhillon [Sunny Deol].
A brawny and honest NRI from Vancouver, Paramveer lands up in Banaras
claiming to be Gajodhar's elder brother separated at childhood. The duo
willingly accepts Paramveer into their fold only to exploit his muscle
power to serve their con games.
Meanwhile, Gajodhar falls in love with Sahiba [Kulraj Randhawa], a
beautiful girl from Punjab. As their romance reaches its peak, her
brothers [Anupam Kher and company] arrive and forcibly take her away.
Paramveer saves the day with a crazy plan to win the girl back for
Gajodhar, which leads them to the rustic heartlands of Punjab.
Like I pointed out at the very outset, YAMLA PAGLA DEEWANA borrows from
here, there, everywhere. You can draw parallels with Mirza-Sahiba, the
legendary folklore that is popular to this date. Memories of BUNTY AUR
BABLI and also DILWALE DULHANIA LE JAYENGE come alive while watching
this one. The climax, of course, is straight out of 1970s cinema. In
fact, writer Jasvinder Singh Bath makes it a point to offer the viewer a
new punch every 15/20 minutes. Of course, some are enjoyable, some
aren't.
From the writing point of view, the first half leaves you with mixed
feelings. The undercurrent of emotions is electrifying and how one
wishes director Samir Karnik and the writer would've tapped this aspect,
instead of wasting precious celluloid on the romance between Bobby and
Kulraj Randhawa. On the brighter side, the action at the start - Sunny
saves Dharmendra and Bobby from Johny Lever's goons - is dazzlingly
executed. It's aimed at the masses entirely. Also, a number of comic
scenes tickle your funny bone in this hour.
The film redeems itself in the post-interval portions. The graph zooms
upwards the moment the focus shifts from Banaras to Punjab. The
introduction of Anupam Kher's character, his assorted brothers, the
sequence when Sunny and Bobby ask for Kulraj's hand in marriage, the
arrival of Dharmendra and also Sunny's Canadian wife Emma Brown Garrett
subsequently, Sunny's speech in English at the election rally... the fun
never stops. Of course, the villain's track [Puneet Issar] is an
obstacle and the climax fight, like I pointed out earlier, tries so hard
to be funny. Also, the film could've done with trimming.
Director Samir Karnik has targeted the film at the hoi polloi and that
segment of moviegoers would love his effort. In fact, the film has
several mass-appealing moments that would either send the masses in a
tizzy of excitement or make them clap in delight. However, the clap-trap
moments are more towards the second hour. Writer Jasvinder Singh Bath
seems inspired by the cinema of Manmohan Desai and Prakash Mehra and if
one overlooks the hiccups in the first hour, his screen writing does
justice to the genre of the film. The songs aren't appealing, except for
the remix version of 'Yamla Pagla Deewana', the yesteryear hit and
'Charha De Rang', which is melodious to the core. 'Tinku Jiya' should
appeal to the front-benchers. The cinematography [Kabir Lal] is
captivating; the lush green locales of Punjab are well captured on
moving picture. Dialogue are well worded. The action sequences
[Analarasu] are deftly executed.
Casting the Deols together is a trump card and their real-life bonding
reflects delightfully on screen. Dharmendra is endearing and charming as
ever. He enacts his part with effortless ease. Sunny is wonderfully
restrained. The audience will love him as a sober guy and the ones who
expect the brawny star to flex his muscles or raise his voice [the angry
man persona] won't be disappointed either. Bobby is equally convincing,
matching up to his iconic father and brother every time they appear on
screen together. Kulraj looks beautiful and makes an extremely confident
big screen debut.
Anupam Kher is outstanding. This is amongst his most lovable acts. Johny
Lever is funny in a brief role. Nafisa Ali is graceful as ever. Sucheta
Khanna is first-rate. Amit Mistry does very well. Mukul Dev should
stage a comeback to movies with this one. He's too good! Himanshu Malik
is okay. Puneet Issar is wasted. Emma Brown Garrett [Sunny's wife] is
amazing. Ditto for the two child artists, enacting the role of Sunny's
kids. Ajay Devgn's voiceover at the start sets the tone for the film.
On the whole, YAMLA PAGLA DEEWANA is a hardcore mass entertainer that
fulfils the expectations of the aam junta. Those who love Deols will
adore this one, while those who don't, won't ignore it either. The film
works big time for its mass-appealing second half and loads of
entertainment it has to offer. The target audience is the masses and it
is this segment of movie-going audience that should carry this film to
success. Business at single screens should be exceptional, while the
film should set new benchmarks in North India [Punjab specifically].
Internationally too, the film should perform the best in U.K., U.S.A.
and Canada.