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There's Something About DEEWANE HUYE PAAGAL
In late 2005, DEEWANE HUYE PAAGAL reunited several of the cast members who'd languished in 2002's quite horrible AWARA PAAGAL DEEWANA. The result is not quite as disastrous, but still won't leave you clamoring for more of the same. I watched DEEWANE on the recommendation of a buddy of mine. After this movie, we're not friends anymore, and, really, whenever I bump into the fella, I now gaze at him with utter disbelief and scorn. DEEWANE HUYE PAAGAL, patterned after the wickedly funny [[ASIN:B00008DDGU There's Something About Mary (Widescreen Two-Disc Collector's Edition)]], is a friggin' mess from the very start, the first hour being truly rife with dumbed down humor. Whatever genuine levity is captured turns out to be few and far between and isn't really enough to save the movie. Having said that, I will say that DEEWANE is superior to AWARA, although that's not saying much. SON OF THE MASK is superior to AWARA. <
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>Karan (Shahid Kapoor) has had a crush on college mate Tanya (Rimii Sen) for so ever long now. He finally gets a chance to hang with her when she accepts an invitation to his birthday dinner. But, on the eve of their get-together, Tanya has her car invaded by a panicky scientist who then leaves behind a toy parrot. Moments later, she witnesses his murder and has to immediately flee the city and change her identity. <
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>Three years later, Karan, still mooning after Tanya, discovers that she's somewhere in the city of Dubai and hires the brash and conniving fast-talker Rocky (Akshay Kumar) to unearth her exact whereabouts. Rocky finds Tanya, who's since changed her name to Natasha and is now an up-and-coming singer (there goes her low profile). Rocky falls in love with her and attempts to dissuade Karan from pursuing her. It doesn't work, and Karan and Tanya renew acquaintances. Meanwhile, there are other men out to turn Tanya's head, and if you've seen THERE'S SOMETHING ABOUT MARY, then, you pretty much know the lowdown. Much of the plot permutations are echoed similarly enough. <
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>Except that DEEWANE HUYE PAAGAL, to give it some credit, does change some things up a bit. The scientist's guarded youth formula is a new twist, as well as the infusion of all the gangsters. And that stupid parrot. Also, several martial arts sequences are scattered here and there, which showcases Akshay Kumar's action hero prowess. And, naturally, being Bollywood, there are the musical acts. But many of the riotous moments in MARY are faithfully reenacted here, scene for scene (the dog resuscitation and the dog attack, to mention only two). These takes, woefully inferior to the original, lose much in the way of vitality and gains much in the way of tediousness. If you've seen MARY, these scenes will make you cringe. Originality, of course, had already snuck a flight out of Dubai. Vikram Bhatt, who also helmed the stinky AWARE PAAGAL DEEWANA (an awful take on THE WHOLE NINE YARDS), apparently hasn't learned any new lessons as he persists in stubbornly clinging to his crap directing methods. Lots of blame and curses should also fall on whoever wrote the screenplay for this dreck. <
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>Shahid Kapoor in the Ben Stiller role is much too bland and goody, goody, and thus becomes rapidly inconsequential, especially when Akshay enters the scene. Akshay Kumar, to no one's surprise, is the star of the film, an actor who can effortlessly play either the sensitive romantic, the intense, kick-arse action hero, or the glib scoundrel. Here, Akshay is a mixture of the last two and he does much to provide the movie's few noteworthy moments. <
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>As for the all-important female lead, it would've been hard for Rimii Sen to live up to Cameron Diaz's dazzling blend of natural beauty, girl-next-door wholesomeness, and cheerful sexiness. But, in her own way, Rimii, herself lovely and sweet-natured, does the role justice. But, still, Tanya/Natasha is no Mary. Akshay and Rimii put in the two best performances of the film, and it's a shame that they aren't given better material. Or, rather, a better adaptation. The original material is gold. <
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>Sunil Shetty plays the Tucker role, but poorly. Paresh Rawal and Johnny Lever keep showing up in the Bollywood films I encounter, so they must have some innate comedic quality which somehow sustains their careers. But I don't get it; I don't think they're funny at all. It makes me think that this could be one of those times where their performances might actually be better appreciated with an understanding of Hindi, although I find it hard to believe that Rawal and Lever actually have nuances as they're not exactly subtle. Or maybe the sub-title work just might be this side of shady. Vivek Oberoi, by the way, sucks big chunks as the film narrator and is never more irritating than when he bursts into wretched song. I'm glad he vanishes after the first 17 minutes and only briefly reappears after the interval and then at the very end. Speaking of the first 17 minutes, which serve as a prelude to the meat of the movie, don't be too surprised if you find yourself uneasily shifting in your seat. Too much info really is condensed and unveiled within that time span, after which the film finally does take a breath. <
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>Music director Anu Malik makes some noise here. One thing to look forward to are his song selections, which are catchy and MTV-hip, particularly the terrific club song "Chakhle Chakhle" (both versions, each introducing Akshay). Another showstopper is the dance competition track "Aisi Umar Mein," in which Shahid Kapoor shows off some spiffy moves. I liked the guitar twangy "Meri Jaane Jigar" as well. Good soundtrack, and we even get to see Universal Studios in one of the musical jaunts. <
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>I don't know exactly what happened, but, after the interval, the film became more tolerable. The pace settled down a bit, there was a let up on the wackiness, and things got more involving. And then the third act arrives and the film segues into a big, drag out fight sequence, wherein Sunil and Shahid, from out of the blue, disclose unforeseen fighting skills. Go figure. The bike stunts are reminiscent of the same in AWARA, but at least the director's only plagiarizing himself. <
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>There are a few unexpected gems in all the unevenness. I laughed at the briefcase boldly labeled "Architect" and the unexpected "Coffee with Karan!" outburst. For whoever cares, this film isn't rated R. So there aren't moments of "frank & beans," reststop frivolity, or masturbating here. "I'm just f^cking with you, Ted!" becomes "I'm just joking, Karan.", which loses something in translation. But that sums up this film quite well, doesn't it? It loses something in adaptation. <
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>Two and a half stars for this one, which turns out to be not as odious as the start of the film promises. But I don't know that I'd recommend it. <
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