By:
Subhash
K.
Jha,
IndiaFM
Wednesday,
September
26,
2007
Priyadarshan
used
to
be
one
of
my
favourite
filmmakers...until
he
decided
to
turn
into
a
funny-man
and
churn
out
comedies
at
the
speed
of
a
roadside
gol-guppa
wallah
serving
up
those
broken
balls
of
spiced-up
fire
filled
with
contaminated
water.
Over-spiced,
utterly
impure
in
intent
and
thoroughly
suspect
in
execution,
Priyan
Sir's
comedies
have
gone
from
worse
(Malamaal
Weekly,)
to
worst
(Bhagam
Bhaag)
...to
indescribably
putrid
and
unpalatable
in
his
latest
all-boys-no-brains
comedy
about
four
guys
with
a
chronic
nervous
twitch
who
have
nothing
better
to
do
than
run
across
a
self-consciously-created
studio
suburbia
and
ogle
at
fat
legs
in
short
skirts
in
this
short
–legged
run
across
a
stretched-out
skit.
Losers
are
a
barrel
full
of
laughs
in
Priyan's
cinematic
vision.
Yeah,
Akshay
Kumar
and
Suniel
Shetty
were
a
laugh
riot
in
Hera
Pheri.
But
the
'boys'
who
followed
the
farce
have
gone
to
seed
in
rapid
succession.
Priyan's
comedies
have
a
distinctly
accentuated
ambience...junior
artistes
hover
pretending
to
be
casual
in
crowded
street
scenes.
But
bustle
is
as
real
as
contestants
in
a
reality
show
pretending
to
be
camera-oblivious.
The
ambience
here
exudes
a
phoney
functionalism
derived
not
from
the
desire
to
create
real
life
but
to
manufacture
a
farcical
facsimile
of
life's
most
risible
and
uninspiring
moments.
In
making
the
ludicrous
lucrative,
Priyan
has
somewhere
lost
the
plot.
Big-time.
The
narrative
in
Dhol
is
carpeted
with
corny
one-liners
and
gags
picked
up
from
stand-up
comedies
and
nautanki
performances
in
the
open
fields
of
South
Indian
villages
where
anything
goes.
The
loud
louts
of
Dhol
are
played
by
four
of
our
talented
young
actors
who
together
compromise
a
kind
of
group
incentive
at
the
boxoffice.
Almost
every
frame
has
the
quartet
out-talking
one
another,
spraying
water
and
spit(what
difference
does
it
make)
in
this
ode
to
noise
pollution.
The
idle
chatter
of
the
cafe
culture
in
a
small
town
is
created
with
some
care
for
the
conventions
of
a
narrative
pattern,
and
full
marks
to
Priyan's
steady
art
director
Sabu
Cyril
for
getting
that
right.
The
rest
of
the
ambience
is
manufactured
in
conveyer-belt
style...Jars
of
unopened
bottles
of
jam
and
pickle,
DVDs
'casually'
thrown
around
to
express
that
touch
of
authenticity
(one
scene
has
a
DVD
of
Sholay
and
another
of
J.P.Dutta's
Umrao
Jaan
prominently
displayed)
...you
name
it,
Priyan
labels
it.
Tragically
props
in
this
parody
go
just
that
far
and
no
further
in
salvaging
a
disastrous
voyage
into
the
valley
of
the
droll.
The
film
opens
with
a
Terina
Patel
music
video
as
Arbaaz
Khan
tries
to
act
mysterious
and
macho....Cut
to
the
four
slothful
heroes
and
their
shrill
landlady(gawd,
didn't
we
see
this
quarrelsome
quintet
in
the
far-more-palatable
Dhamaal
two
weeks
ago???).
...The
disembodied
images
persist
in
their
feverish
propulsions
until
the
fidgety
foursome
gets
fatuously
feisty
and
flirtatious
panting
after
Tanushree
Dutta
whose
wardrobe
and
makeup
smack
of
casual
'grease'.
Elegance
and
understatement
in
words
and
wardrobe
are
a
primary
casualty
in
Dhol
and
its
clamorous
ilk
of
comedies.
Somewhere
towards
the
end,
the
film's
title
is
runbustiously
recalled.
Villain
Murli
Sharma
(menace
in
full
uniform)
starts
stalking
Tanushree
and
Payal
Rohatgi(she
,
trying
hard
to
shed
her
oomphy
image)
to
retrieve
a
Dhol
filled
with
money.
No
wonder
Pritam's
music
comes
out
sounding
so
stilted!
Borrowing
a
mean
streak
from
the
Cartoon
Network
the
villains
slap
and
pound
the
intellectually-challenged
heroes
to
a
pulp.
Nobody
comes
to
any
grievous
injury.
Except
the
audience.
And
poor
Om
Puri
and
his
screen-wife
Farida
Dadi
who
also
get
slapped
around.
But
that's
the
least
of
their
worries
in
a
film
that
demands
even
the
most
talented
of
actors
to
get
seriously
brain-dead.