Director :Shashi Ranjan
Producer : Shashi Ranjan
Cast : Shaad Randhawa, Rakhi Sawant, Satish Shah...... Jignesh, Satish Kaushik, Gulshan Grover, Anupam Kher
It’s perplexing. Why, after a hundred films like this flopped, would someone still be interested in bringing out a similar product.
This genre of comedy has a set of fundamentals: the underworld don who actually has a heart of gold, some hot dances, a somewhat amusing premise, gay jokes—perhaps even a transvestite for good measure—and a climax that’s meant to be funny, but is actually a mess, even as the soundtrack blasts the film’s title.
So here at the ‘Asian Bhai Meet’ in Bangkok (photographed most unimaginatively), Godfather (a dazed Jackie Shroff in a wig that looks like an upturned silver mop) laments the lack of young blood in the business. Don Mungilal (overdoing the bumbling act) wants to retain hold over Alibaug to build a hospital there, the reason for which is explained in a gruesome flashback scene where his father loses an arm in an unexplained bomb blast and dies due to lack of proper medical care.
On the other hand, Don Fursat Lala (Gulshan Grover doing his usual thing) wants to convert it into a mini Las Vegas. Godfather decrees that the coveted kingdom will go to the one who has an heir. Since Fursat has an heir, his son Zac, Mungilal is given a week to source his sister Angoori’s child Kamal whom he can show as heir.
But the thing is, he broke off contact with Angoori decades ago. So he enlists the help of a Mumbai detective called Johnny English (Satish Kaushik), who we are told is impotent, and his wife (Deepshikha, in low-cut blouses, whom Johnny calls his “personal saaman”), who flirts with every available male.
Within a few days, three prospective heirs land up at his place—a wannabe actor, Rahul (Shaad Randhawa), an actress and dancer (Aarti Chhabria) and an NRI, Ranbir (Samir Dattani). Out of nowhere, the NRI’s girlfriend Jia (Shama Sikander), too, lands up and the ubiquitous foursome is formed. Then on, in Andaz Apna Apna style (I shudder to compare), the girls are tied up by Fursat’s men, while the goofy boys think up of ways to escape.
Of course, in doing so, nonsensical events must accrue like the boys dressing up as blonde female dancers and one of the boys stopping to pee (shown in full glory) on the road while the goons are inches away. Minutes from the film’s ending, everyone’s screeching so much, you pray for ear plugs to magically appear.
The cast doesn’t disappoint as much as the film. Shaad Randhawa, Aarti Chabbria Samir Dattani and Shama Sikander are earnest enough. The girls look molten-hot and are superbly styled (outfits, accessories, make-up, all cool). Satish, both Kaushik and Shah, are wasted in underwritten, bit roles. Anupam Kher, whose comic timing is usually infallible, goes over-the-top but is till watchable for his presence and fleeting funny acts. Bobby Darling, who plays a dance choreographer, is hysterical (possibly by the filmmaker’s request).
Dialogue writer Ashwani Dheer (U, Me Aur Hum, One Two Three) disappoints big-time. Screenplay writing credited to Shashi Ranjan, Ashwani Dheer and Kabir, is uninspired and in a hurry to follow the formula. Technically, the film is archaic and the songs average. Director Shashi Ranjan seems to be in no mood to attempt imagination or originality, instead hopes to ride on the success of a few brainless comedies in the past. The tagline on the Dhoom Dadakka’s poster says caution. Honestly, that says it all.
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