REVIEW 91: MILEY NAA MILEY HUM

Release date:	November 4, 2011
Director:	Tanveer Khan
Cast:	Chirag Paswan, Poonam Dhillon, Kabir Bedi, Kangna Ranaut, Sagarika Ghatge, Neeru Bajwa

The good thing about Miley Naa Miley Hum is that it marks the debut of a sweet-looking actor called Chirag Paswan. Politician Ram Vilas Paswan’s son has a pleasant presence on screen and a well worked out body (though I can imagine my mother smacking him between the shoulder blades and telling him to improve his posture). The other positive point is that I actually enjoyed Kangna Ranaut’s performance – it’s been a while since that’s happened! Here’s an actress who started off being so interesting but somehow somewhere lost her way with her awkward diction, poor voice modulation and disappointing choice of roles. In Miley Naa Miley Hum she looks refreshingly pretty and is genuinely funny playing a guileless, accident-prone model.

So what’s the story? Paswan Junior plays Chirag Mehra, a rising tennis star whose warring parents have torn him asunder all his life. He’s determined to divide his time between them until he finds a way to get them together again. So, he works at his father Siddharth Mehra’s vineyard but also travels to the city to help his mother manage her business empire. Trouble starts when mom (Poonam Dhillon) tries to fix him up with her London-based friend’s daughter Kamiah Malhotra (Chak De girl Sagarika Ghatge) while dad (Kabir Bedi) gets into competitive mode and promises him to Manjeet Ahluwalia (Neeru Bajwa), the daughter of his boisterous, rustic buddy from Bhatinda. Chirag is not interested in marriage, so in an inspired moment he points to a model on a hoarding (Anishka played by Ranaut) and claims he’s in love with her.

If you think about it, that précis is filled with promise, and the catchy song Katto Gilheri Chamak Challo Rani featuring a lovely-looking Shweta Tiwari arrives early in the narrative to suggest that this film will be an entertainer. But Miley Naa Miley Hum’s dialogues are amateurish, and the script fails to flesh out most of its characters or explore their relationships with any depth. So it’s nice to see older actors get so much screen time playing Chirag’s parents, but the reason for their animosity towards each other is never established although it’s the fulcrum of the film. We are told in passing that he was playing tennis while she was in labour, which led her to believe that the game was more important to him than his wife, but … naah, that sounds too flimsy to be credible. Again, since Chirag coped with his parents’ hatred for each other throughout his childhood, the circumstances that drive him over the edge as an adult don’t seem compelling enough; nor does the director manage to make us share Chirag’s desperation to re-unite mom and dad.

Manjeet from Bhatinda is a parasite, but Chirag seems fond of Kamiah from London … Why then is a sweet guy like him so insensitive to her feelings? Why does he not bother to explain to her his reasons for opposing their match? Manjeet, incidentally, is introduced to us in the film’s most ridiculous scene: Siddharth Mehra phones her father during her engagement party and expresses a desire to have her as his bahu; daddy dear simply gets off the phone and cancels her engagement … because apparently that’s what you do for a good friend … and when her fiancé’s family gets furious, Manjeet yells at them … because she blindly believes that her father must have a good reason for doing what he did, no questions asked! Yeah sure! Very convincing! Ranaut’s character Anishka is introduced to us in an understatedly amusing scene (she tastes sushi for the first time and describes it as “kachchi machchhi”) but she then disappears for a long gap, and nothing is done to keep her on our minds in the interregnum. The tennis match in the finale should have been a high-adrenaline experience but it’s not written or edited well enough for that. There is an adopted brother in the picture who loyally follows Chirag everywhere, but we are told little about him. Besides director Tanveer Khan is so focused on the hero’s looks that he allows the make-up artist to coat Paswan Junior’s face with too much pancake, while allowing spots to show on Ranaut’s skin in several shots.

We’ve seen children of broken or troubled marriages in other Hindi films (Akele Hum Akele Tum, Life In A Metro, We Are Family) but it’s unusual for Bollywood to deal with the impact of a parental split on adult offspring. Miley Naa Miley Hum is not insufferable, it’s even nice in places, but it sorely lacks depth! Still, there’s something likeable about debutant Chirag Paswan – and that’s something to hold on to.

Rating (out of five): *1/2

CBFC Rating:                       U without cuts

Running time:                        125 Minutes

Language:                              Hindi

Photograph courtesy: https://www.facebook.com/#!/MNMHthemovie

REVIEW 90: DAMADAMM

Release date:	October 26, 2011
Director:	Swapna Waghmare Joshi
Cast:	Himesh Reshammiya, Purbi Joshi, Sonal Sehgal

TV show host Gaurav Kapur posted this comment on Twitter on the day of Damadamm’s release: “U'd have to be pretty dumb to release your film up against Ra.One. Or in some cases, Dumb-dum-ah-Dumb!” You know what’s far dumber than that, Gaurav? It’s to release a lousy film on the same day as a Shah Rukh Khan-starrer. After all, we do know of instances from the past when a small film has come to theatres alongside a mega-starrer and vanquished the Goliath on the scene. Look no further than Yashraj’s Lamhe back in the 1990s. It starred Sridevi and Anil Kapoor at the height of their glory. On the same day came the unheralded Phool aur Kaante starring two unknowns called Ajay Devgan and Madhoo. Itihaas gawaah hai that Lamhe flopped while Phool aur Kaante went on to become a superhit. The problem with the release of the Himesh Reshammiya-starrer Damadamm on the same day as SRK’s Ra.One is that Damadamm is a non-starter, a completely hopeless case. Or as Gaurav Kapur might put it, it’s a “dumb-dum-ah-dumb” film.

Damadamm stars Himesh as Sameer who is saddled with a nagging girlfriend called Shikha. When she leaves town for a few days, he realises he’s tired of her controlling ways, breaks up with her on her return and hooks up with his boss’ sister Sanjna. But is he in love with Sanjna? Is he really and truly over Shikha?

Well, there’s some pointless, meandering, illogical dialoguebaazi that is employed to answer those questions, but honestly, it’s hard to care when you spend most of your time asking yourself how two smart, good-looking women could possibly be interested in this guy. Himesh continues to struggle in the acting department, but I still want to be fair to him. If Arjun Rampal could deliver a performance of the sort he did in Raajneeti, if John Abraham could emote the way he did in Nagesh Kukunoor’s Aashayein, if Katrina Kaif could make the journey from Boom to Mere Brother ki Dulhan, then there’s no telling how far time and experience can take even the most derided of actors. But these three stars are great looking and charismatic, which means much is forgiven while they take their time to evolve into something better than they were when they started out. Himesh, on the other hand, does not have the screen presence to inspire patience in an audience.

Worse, the film is trying too hard to be cool. At the start, when we are taken through a flashback of scenes from Sameer’s five-year-long relationship with Shikha, for reasons best known to the director, the words emerging from their mouths are also flashed on screen in thought bubbles. Why? The lyrics of this film’s songs are similarly inexplicable. Why does Sameer sing that his love for a woman is “Like Mango”? No idea.

The film also has pretensions to Karan Johar-style grandeur which is evident in a party scene where every single character seems to be wearing black or white or black-and-white to match the white walls of the venue. That kind of colour coordination works for KJo because his films are opulent, fantastical melodramas that also feature strong stars with well-written roles. In Damadamm the art direction seems purposeless!

Himesh the singer varies his singing style in quite an interesting fashion through a couple of the film’s songs, moving many miles away from his trademark nasal tone. That would have been worth talking about if the songs weren’t playing out against such a sterile story. But they are, as a result of which even the climactic number, Umrao jaan a.k.a. No touching, no kissing, only seeing comes across as being low-brow and sadak chhaap, whereas in a better film and placed in an appropriate context, it could possibly have been funny in a kitschy sort of way.

Damadamm does have a few unexpected plus points though … The girls are pretty plus they’re interesting actors who deserve better than this film. It’s also such a refreshing change to see that Purbi Joshi (Shikha), who is clearly a dark-skinned woman, makes no effort to lighten her complexion the way so many Bollywood actresses still do. And Damadamm features a sari-wearing, Hindi-speaking Lily Aunty who is far removed from the Hindi film stereotype of the English-speaking, dress-wearing Christian gangsters’ molls and cabaret dancers of up to the 1990s. There are even a couple of corny lines that could have been amusing if delivered by a more impactful star – imagine Salman Khan, instead of Himesh, crudely comparing a relationship break-up to relief from five years of constipation!

Sadly for Damadamm, it’s Himesh that they’ve got in combination with a bland story and storytelling style. So when Sanjana (Sonal Sehgal) says to Sameer in the film, “I knew if you break up with Shikha toh tumse pyaar na karna mere liye bahut mushkil ho jaata (I knew that if you break up with Shikha then it would become difficult for me not to fall in love with you),” all I could do was stare at the screen incredulously and think, “She’s kidding, right?!”

Rating (out of five): *

CBFC Rating:                       U/A without cuts

Running time:                        120 Minutes

Language:                              Hindi

Photograph courtesy: http://en.wikipedia.org/wiki/Damadamm!

REVIEW 89: RA.ONE

Release date:	October 26, 2011
Director:	Anubhav Sinha
Cast:	Shah Rukh Khan, Kareena Kapoor, Armaan Verma, Arjun Rampal, Shahana Goswami, Tom Wu

Three words – invest in scripts. Okay, make that seven – for heaven’s sake, Bollywood, invest in scripts! It’s amazing how an industry that spends crores on stars and marketing, fails to pour as much time & money into the one thing that forms the cornerstone of every great film: writing! And that, I’m afraid, is the problem with Ra.One.

There’s tremendous potential in the story of a computer game so well-programmed that its characters take on a life of their own in the virtual and real worlds. Shah Rukh Khan in Ra.One plays Shekhar Subramanium, a London-based game developer whose son Prateek thinks he’s a loser. Shekhar follows his advice and creates a game in which the villain – Ra.One – is invincible. When Prateek takes a shot at the game, he reaches a level that none of his dad’s adult colleagues had been able to scale. But he leaves midway, angering Ra.One who is designed to never suffer defeat. The animated creature exits the game and enters our world in search of Prateek. Who he destroys along the way and how he is ultimately vanquished, if at all, form the story of the film.

Ra.One starts out with all the potential that the concept had. We’re in virtual reality. A figure that resembles Shah Rukh is on his way to save a beautiful maiden (Priyanka Chopra in a guest appearance) from a Khalnayak (Sanjay Dutt, another guest appearance) but on the way he must overcome Bruce Lee’s three friends, Iski Lee, Uski Lee and Sabki Lee. Yeah yeah, it’s cheesy but funny all the same, the special effects look world class, their execution is nothing like we’ve seen before in India and I settled into my seat with my popcorn and coffee, reassured that all was well with the world.

The first half of the film is reasonably entertaining. Shah Rukh does a decent impression of a Tamilian scientist, going beyond the Hindi film staple of “Aiaiyyo” and pronouncing his words in a way only a Tamilian who speaks English well can (note how he says “volume”). He quotes “the great Navjot Singh Sidhu” and himself. There’s a genuinely funny moment when Shekhar’s Westernised son eats spaghetti with chopsticks, while dad plunges his bare fingers into a plate full of the dish drowned in curd. But well begun is only half done. And Ra.One suffers from an all-pervading feeling of being just half done.

The best sci-fi fantasies and superhero adventures, if matter-of-factly dissected, have the potential to sound silly. Think about it … Spiderman: A boy bitten by a spider who develops arachnoid qualities! Superman: A caped chappie who wears his undies over a body suit and battles evil! Matrix: A world where machines have enslaved humankind! But these bare-bones concepts have been effective because they’ve been fleshed out by great writers who infused them with a richness of meaning, warmth and emotion.

Ra.One’s concept, however, is infused almost solely with special effects! There was potential crying out to be tapped here. The evil guy’s moniker is a sort of acronym for the technical phrase Random Access Version 1.0 which, when crunched down to its initials resembles the name of Lord Ram’s bête noir. The good guy in the game is G.One (also SRK), a play on jeevan (life). But Ram and Raavan were not uni-dimensional men – Ram is considered God by some and a maryada purushottam by others; Raavan’s effigies are burnt in some parts of the world while elsewhere he is deified. G.One and Ra.One in this film though are one-note characters with no layers! When Ra.One first appears on screen in the body of Arjun Rampal, he tells a group of children: “Tum har saal Raavan ko isliye maarte ho kyunki tum jaante ho ki woh kabhi nahin marta.” But the possibility of the immortality of evil is left to that single sentence! Likewise, the thought of a father desperate to impress his son could have so greatly tugged at the heart, as could a woman’s attraction to a gaming character who looks exactly like the husband she loves, but neither is satisfactorily dealt with. G.One’s characterisation is highly inconsistent, sometimes played robotically by Khan, sometimes seeming too human to be true. And the guest appearance by megastar Rajinikanth as Chitti from Enthiran feels like a lazy gimmick.

I’d have been willing to live with all this if Ra.One had been a super entertainer. But for a film that sets out to be a high-action adventure, it is surprisingly slow. After a thrilling chase when G.One first makes his appearance in the real world, the editor sacrifices pace in a bid to establish grandeur with slow motion and sweeping shots. There’s an extended sequence in which G.One is trying to reach the front of a moving train but the darned fellow seems to take too long to get there. The background score is terribly ineffective. And the gaming mumbo jumbo thrown at us sounds like nothing at all.

Here’s what I did like about Ra.One … Kareena Kapoor as Shekhar’s wife lifts the film whenever she comes on screen. Here’s an actress who’s doing herself a great disservice by focusing all her energies on the Bodyguards and Ra.Ones of the world, hitching her fortunes primarily to the industry’s male superstars though she has the presence and the talent to experiment with more heroine-centric ventures. Besides, she looks like five million bucks here, and thank god she’s turned her back on that skinny, scrawny look she sported for a while. Debutant Armaan Verma who plays her son is a good actor too and shares a warm chemistry with SRK. I enjoyed the build-up of suspense before Shah Rukh is first seen as a living breathing G.One in the film. I love the story woven into the Dildara song and its use of the classic Stand By Me. Chammak Challo is even more fun in the film than in the promos. Arjun Rampal is both menacing and hot in a disappointingly brief appearance as Ra.One. And as I said at the start, the special effects are top notch.

But I like my superhero flicks to be imbued with emotional resonance, I like to love my supermen, I want to feel for them. Rakesh Roshan’s Koi Mil Gaya and Krrish had a fraction of Ra.One’s budget but I cried and laughed for the protagonist in both. With Ra.One however, I smiled occasionally and didn’t shed a single tear. The film is sporadically entertaining, but for the most part it left me cold!

Rating (out of five): **

CBFC Rating:                       U

Running time:                        160 Minutes approximately

Language:                              Hindi

Photograph courtesy: http://en.wikipedia.org/wiki/Ra.One

REVIEW 88: LOVE BREAKUPS ZINDAGI

Release date:	October 7, 2011
Director:	Sahil Sangha
Cast:	Diya Mirza, Zayed Khan, Cyrus Sahukar, Tisca Chopra, Farida Jalal

There are some films that are so good that you are dying to write about them. There are some that are bad to the point of being so hilarious that you are desperate to share your trauma and/or laughter with the world. And then there are those middling films – the ones from which you have no particular expectations so it’s not even that you’re disappointed and upset.  They’re just dull. These are the ones for which you need to really motivate yourself to write a review.

Love Breakups Zindagi (LBZ) is one such film. Between the time I watched it on October 4 and today, I’ve actually reviewed more than half a dozen films. If I hadn’t sworn to myself and my readers that I wouldn’t miss a single Hindi film on this blog this year, I suspect I wouldn’t have bothered to write about it. But I did make that promise and the film happens to have survived a second week, so here goes.

LBZ stars Diya Mirza and Zayed Khan as Naina and Jai, who are in separate long-term relationships at the point that the film starts. Naina’s boyfriend is a career-minded man who doesn’t know how to let his hair down, and has little interest in or consideration for her passions and dreams. Jai’s girlfriend is a control freak. The two meet at a wedding in Chandigarh where the groom is his best friend and the bride is hers. They strike up a rapport and their easy chemistry sets them both thinking about their individual relationships. Also at the wedding is Jai’s much-divorced friend Govind (Cyrus Sahukar) who falls in love with the bride’s aunt Sheila (Tisca Chopra).

So here’s what I liked about LBZ:

1. Diya Mirza is gorgeous (since I’ve met her, I can tell you that the true extent of her beauty does not come across on celluloid.).

2. Diya Mirza has a glowing skin

3. Diya Mirza has been styled beautifully for this film and wears lovely clothes throughout

4. Unlike the other older woman-younger man relationships shown in Hindi films so far, the writer and director of LBZ have taken Govind & Sheila’s romance all the way. They don’t chicken out and, for instance, kill off the older woman like Farhan Akhtar did in Dil Chahta Hai.

5. Farida Jalal as the groom’s grandmother is as irresistibly charming as she always is.

That’s it. Can’t think of anything else. Now for what I didn’t like about LBZ:

1.    There’s nothing about the Naina-Jai romance in this film that’s not predictable. Nothing! Even the flaws in their respective partners are so clichéd!

2.      It’s the sort of literal film where if a character says he’s travelling, he is shown at the airport getting his boarding card, then boarding the flight, then we are shown a shot of a plane in the clouds … Not once, but each and every time.

3.     Since a product placement deal was evidently worked out by the producer, zero imagination is used in the way LBZ hardsells Jet Airways to us – yes, the aforementioned boarding cards and aircraft are all from Jet Airways!

4.      It’s the sort of film where they feel the need to establish their presence in a city by showing characters walk past famous architectural landmarks for no logical reason because of course they couldn’t think of any other way of capturing the mood of a city. So when Jai goes to Mumbai on work, he and Naina pass the Gateway of India. But funnier still, Govind and Sheila on a date in Delhi are shown walking casually by the Rashtrapati Bhavan. Does this director have no knowledge of lovers’ hangouts or security measures in Delhi?!

5.  There’s a terribly tacky D’décor product placement and a guest appearance by the brand’s ambassador Shah Rukh Khan who comes off looking tired beyond recognition.

6.     Perhaps it’s too late for this, but Zayed Khan really needs to take some acting lessons. The youthful charm that was in evidence in Main Hoon Naa may have been sufficient to pull him through a supporting role but is certainly not enough for a film in which he’s the main male lead. Diya Mirza may not have managed to achieve star status in the industry, but she still deserves better.

7.      LBZ is tacky and unprofessional. For instance, there’s a character called Pinkoo who must have been someone in the original script, but whose significance was edited out completely at some point. And so, we see this person in numerous random shots of the wedding, but he doesn’t have a single line to deliver. The editor, however, forgot to snip out a brief scene in the middle of the sangeet when someone says, “Pinkoo kaha hai?” and this non-speaking character is shown dancing vigorously on stage. But Pinkoo kaun hai? The director simply forgot to tell us.

I could go on and on, but I guess I’ll just save myself the time … because it all adds up to just one point: that Love Breakups Zindagi is one hell of a shoddy film!

Rating (out of five): 1/2 (this half star is primarily for Diya Mirza’s complexion & clothes)

CBFC Rating:                       U/A without cuts

Running time:                        152 Minutes

Language:                              Hindi

Photograph courtesy: http://www.bornfree.co.in/lbz/   

REVIEW 87: MY FRIEND PINTO

Release date:	October 7, 2011
Director:	Raaghav Dar
Cast:	Prateik Babbar, Arjun Mathur, Shruti Seth, Kalki Koechlin, Makrand Deshpande, Divya Dutta

So were we wrong about Prateik Babbar? And by “we”, I mean myself and the countless others who celebrated the arrival of a talented actor when we witnessed his casual, almost lazy style of dialogue delivery in that cameo in Abbas Tyrewala’s Jaane Tu Ya Jaane Na. Then we saw him playing Munna in Dhobi Ghat, the washerman who aspires to be a star. He hit the nail on the head with the character’s emotional quotient though he did come across as slightly too sophisticated for a Mumbai dhobi. But his performance as a student in Prakash Jha’s Aarakshan was a slap in the face of good acting – never before has a young actor appeared as spaced out and disinterested in a role as Babbar was in that film. And now comes My Friend Pinto, just his fifth film (don’t forget Dum Maaro Dum earlier this year) and already there is a sameness to the vocal inflexions and mannerisms that is worrisome.

I guess it’s the same old story – even a talented actor is only as good as the chemistry s/he shares with the director; and sometimes we mistake perfect casting for good acting when a role fits an actor’s personality so well that he is actually just being himself on screen.

My Friend Pinto could have been called One Night In The Life of The Small-Town Simpleton In The Big Bad City. Michael Pinto (Babbar) is a clean, straightforward chap who has lived all his life in Goa. When he loses his mother, he goes off in search of Sameer (Arjun Mathur), once his closest friend who left Goa for Mumbai ages back and has not replied to his letters for a long time. When he gets to Mumbai, his penchant for getting into trouble in unlikely situations kicks in. His kindnesses are returned with cruelty. He helps a bunch of urchins to save a puppy, and they return the favour by picking his pocket. Through a series of coincidences one eventful night, he gets involved with an assortment of colourful characters, all of whom end up at the same climactic New Year’s eve party: Sameer and his wife (Shruti Seth) who are constantly squabbling, a gangster (Raj Zutshi) who is trying to bump off his boss, that boss (Makrand Deshpande) who dotes on his suspicious beloved (Divya Dutta), a hoodlum who fails to see the hell his poor taxi-driver father is going through at the hands of a loan shark, and the pretty dancer Maggie (Kalki Koechlin).

The point the film is trying to make is that Pinto’s simplicity and innate goodness touch the lives of all those he meets, and each of these characters is saved by him in some way. But what could save this lacklustre film? The story is defused and uninteresting (frankly it’s not virtue as much as flukes that work in Pinto’s favour), the storytelling style lacks energy, the music is indifferent, and the few scenes that had the potential to be funny end up falling flat instead. Makrand Deshpande as the Malayali don serves us a hilarious accent when he speaks his own unique Malayali-Hindi dialect, but his role does not move much beyond that. Kunal Ganjawala’s beautiful voice suits Babbar perfectly, but the songs are nothing to write home about. There’s one particular number in which Michael and Maggie are seen splashing about in the rain, and the sound of the water is worked into the orchestration (nice!) but the tune itself is just about okay. The only thread that worked for me in a small way in this multi-strand story is the one involving Sameer and his naïve though career-minded spouse. Arjun Mathur (who we’ve seen earlier this year as a gay gigolo in Onir’s I Am and in the Airtel 3G ad playing a young soldier who phones his wife from a remote location) lends a certain sincerity to all his performances, and we’ll hopefully be seeing a lot more of him in the coming years … but in better films than My Friend Pinto.

Incidentally, this film is produced by heavyweights UTV and Sanjay Leela Bhansali. I wonder why they allowed such dull fare to reach our theatres?

Rating (out of five): *

CBFC Rating:                       U/A without cuts

Running time:                        120 Minutes

Language:                              Hindi

Photograph courtesy: http://www.facebook.com/myfriendpinto

REVIEW 86: JO DOOBA SO PAAR, IT’S LOVE IN BIHAR

Release date:	October 14, 2011
Director:	Praveen Kumar
Cast:	Anand Tiwari, Sita Ragione Spada, Vinay Pathak, Rajat Kapoor, Pitobash

“There’s nothing more dangerous than a Bihari in love,” says this film’s clever tagline. Well, I can think of a few things far more dangerous: like a film that’s unusually short by Bollywood standards, yet even its 1 hour 40 minutes running time feels tedious; like a good concept that translates into a lifeless, purposeless film marked by ordinary writing, lackadaisical editing and weak direction. 

I can almost imagine the concept that captured the producer’s interest: a laggard in the Bihari hinterland falls in love with a visiting firangi mem student who is there to study Madhubani paintings, and risks his life to save her when she is abducted by a local gang. Unfortunately, the idea and execution are separated by a gap as wide as the Pacific. And so a competent actor like Anand Tiwari, playing the protagonist Keshu, hangs about sporting an appropriate Bihari accent and entertainingly appropriate clothes, while wide spaces yawn between the few funny moments in this film. Tiwari has already made his mark in the Jaago Re ad campaign and playing the geeky, small-town boy in love with Sonam Kapoor’s protégé in Aisha. But even veteran actors need good scripts, directors and editors to carry them through, and sadly for this newcomer, he has none of the three at hand in this film. To make matters worse, the mem he falls for is played by an actress who makes the white policemen in Kurbaan and Kites look good.

Sadly, Jo Dooba So Paar, It’s Love in Bihar seems interesting at the start. There’s an appealing realness to the way it captures a Bihari small-town atmosphere. Keshu’s truck driver father lectures him on his wayward ways, while he himself surreptitiously transports guns and grenades along with legitimate goods. The conflict between father and son had as much potential as the romance but neither is well fleshed out. There are a few brief enjoyable moments in this unusually titled film. They come courtesy Keshu’s amorous mother who is twice shown using sex to divert her angry husband’s attention away from their erring son. There’s a tiny scene in which that delightful young actor Pitobash (who we’ve seen earlier this year as Mandook in Shor In The City and Laptan in I Am Kalam) does a mock sexual dance to tease his friend Keshu.   

Hmm, three scenes in an entire film?! … Jo Dooba So Paar is not even one of those films that’s so bad that it becomes entertaining. It’s just so dull that you wonder why anyone bothered to make it.

Rating (out of five): *

CBFC Rating:                       U without cuts

Running time:                        100 Minutes

Language:                              Hindi

Photograph courtesy: https://www.facebook.com/#!/loveinbihar