By: Taran Adarsh, IndiaFM
Friday, August 04, 2006
From saas-bahu sagas to ghar-ghar ki kahani, there's an overdose of parivaar, sanskaar and takraar on Indian television. So, if a film-maker attempts a story that has already made the rounds of Indian television or has been beaten to death on the big screen, the impact is bound to be minimal or, perhaps, zilch.
The problem with Shaaadi Karke Phas Gaya Yaar is not just its oft-repeated storyline, even its look is jaded. It brings back memories of the cinema of 1980s: Flashy clothes, jazzy styling and gaudy sets. Moreover, the film has taken a long time to hit the screens and the common man is well aware of this fact -- something that goes against the film completely.
So does the star presence of Salman Khan and Shilpa Shetty salvage the show? Not really!
In these fast-changing times, when 'think out of the box' is the keyword to success, a film like Shaadi Karke Phas Gaya Yaar comes across as an outdated and obsolete concept. The film would've worked, perhaps, had it released a couple of years ago. Not today!
Ayaan [Salman Khan], from an upper middle class family, falls in love with a model, Ahana [Shilpa Shetty], belonging to a liberal, ultra-rich family. After a passage of time, the two get married. Both Ayaan and Ahana look forward to a blissful and contented married life.
But the future has something else in store for the duo. Ahana gradually discovers that there is a cultural difference between her upbringing and Ayaan's family. Small differences crop up, which eventually lead to major confrontations between the two.
Can Ayaan maintain his cool and bring his wife and family under one roof?
Shaadi Karke Phas Gaya Yaar is a khichdi of several successful films. There's a bit of Hum Aapke Hain Koun, a dash of Raja Hindustani and traces of the South socials starring Jeetendra, which enjoyed tremendous popularity in the 1970s and 1980s. Nothing wrong if you are inspired by your peers or interesting films, but the problem is that a film like Shaadi Karke Phas Gaya Yaar comes too late in the day.
The conflict between a bahu and her in-laws or the bahu's uppity mother posing problems is definitely not novel. In fact, one presumes that director K.S. Adhiyaman must've used all popular family socials as reference points before writing the script of this film.
Shaadi Karke Phas Gaya Yaar is plagued by one more problem. There are songs and more songs, whether or not the situation demands. And the situations are the same that you encountered in the 1990s: The hero starts dreaming and suddenly breaks into a song in London or the heroine gulps a few pegs of alcohol and breaks into an angry song.
Any redeeming aspects? Yes, of course! A few sequences between the couple -- Salman and Shilpa -- catch your attention. Agreed, we've seen similar situations before, but they keep the interest factor alive...
- The first tiff between Salman and Shilpa -- when they return from their honeymoon and Salman's family gathers to see the goodies that they've picked up while shopping -- seems real.
- Another sequence that stands out is when Salman breaks down upon learning that Shilpa has had a miscarriage and how Salman's mother Reema pacifies him and explains the truth [he thinks, she has aborted the baby].
- The sequence after the party -- when Salman persuades Shilpa to return home -- keeps you involved.
But Adhiyaman loses track as he nears the completion post. The court decides to give the warring couple ample time to reconcile their differences and Salman starts staying in Shilpa's house. The entire track of Salman and Mohnish Bahl keeping a watch on Shilpa's eating habits et al looks plain ridiculous.
Directorially too, Adhiyaman's storytelling seems old-fashioned and archaic. Or, perhaps, he's obsessed with Sooraj Barjatya movies. The songs [Sajid-Wajid, Daboo Malik] are okay, with a couple of average tracks -- 'Taro Ko Mohabbat Ambar Se' and 'Kuch Bhi Nahin Tha'. Cinematography is passable.
Salman looks as if he has just walked out of the Rajshri set. His depiction of Mr. Goody Goody reminds you of his part in H.A.H.K. and Hum Saath-Saath Hain. Shilpa's role has negative shades and she plays the wicked wife well. The film has a number of actors in supporting roles, but the ones who stand out are Supriya Karnik [first-rate] and Shakti Kapoor [effective]. Reema Lagoo is too repetitive. Mohnish Bahl gets no scope. Kunika and Aasif Sheikh are passable.
On the whole, Shaadi Karke Phas Gaya Yaar is a stale and outdated fare which reminds the viewer of the cinema of 1980s. At the box-office, this one's a non-starter.