Comedies
are
the
flavor
of
the
season
and
more
and
more
film-makers
are
following
the
formula
re-invented
by
David
Dhawan
and
Priyadarshan.
Entertainment
is
the
key
word,
while
a
logical
story
goes
out
of
the
window.
Shashi
Ranjan's
new
outing
Dhoom
Dadakka
tries
to
recreate
the
hungama
and
gets
it
quite
right
in
the
first
hour
as
well,
but
it's
on
a
slippery
wicket
thereafter.
Problem
kya
hain?
Let's
not
look
at
the
plotline,
but
the
funny
situations
fail
to
evoke
mirth.
In
fact,
the
entertaining
moments
don't
work
after
a
point.
Unlike
the
first
hour,
which
packs
in
quite
a
bit
in
terms
of
substance
and
laughs,
things
slide
downwards
soon
after
the
intermission.
Dhoom
Dadakka
could've
created
a
mini-dhoom
with
its
entertainment
quotient,
but
the
writers
play
the
villain
here!
An
'All
Asian
Bhai
Meet'
is
being
held
in
Bangkok.
The
agenda
is
to
discuss
and
assess
the
falling
sensex
of
'Bhaigiri'
in
Asia.
In
the
discussion,
a
rival
Don
of
Mungi's
[Anupam
Kher],
Fursat
Lala
[Gulshan
Grover],
proposes
an
ambitious
plan
for
a
piece
of
land
in
Alibagh
and
puts
across
a
valid
argument
that
it
is
important
to
have
a
waaris,
the
new
generation,
to
improve
matters.
Since
Mungi
has
no
waaris,
it
is
only
logical
that
the
next
man,
i.e.
Fursat
Lala
should
be
made
the
new
Don.
Mungi
assures
the
syndicate
that
he
has
a
waaris,
who
he
will
present
before
the
syndicate
and
asks
for
a
month's
time
to
do
the
same.
Now
Mungi
and
his
friend
Jignesh
[Satish
Shah]
set
out
to
trace
Mungi's
estranged
sister
Angoori
[Bhavana
Balsawar],
whom
Mungi
had
thrown
out
years
back
because
she
wanted
to
marry
a
music
teacher.
One
of
the
letters
reveals
that
Angoori
did
give
birth
to
Kamal.
Mungi
is
thrilled
and
resolves
to
hunt
his
waaris
in
Mumbai,
where
he
comes
across
a
detective,
Johnny
English
[Satish
Kaushik],
who
promises
to
find
Kamal.
Through
his
weird
ways,
Johnny
English
gets
hold
of
an
NRI
[Sammir
Dattani],
who
claims
to
be
Kamal.
Johnny
takes
him
to
Bangkok
but,
to
his
shock,
finds
another
guy
[Shaad
Randhawa]
there,
who
also
claims
to
be
Kamal.
While
this
confusion
is
on,
Shivani
[Aarti
Chhabria]
arrives
on
the
scene
claiming
to
be
the
real
Kamal.
A
confused
Mungi
asks
all
of
them
to
stay
in
the
house
till
he
arrives
at
a
decision
as
to
who
the
real
Kamal
is.
In
the
ensuing
drama
enters
the
second
girl
Jiya
[Shama
Sikander],
who
claims
to
be
a
girlfriend
of
the
NRI
Kamal.
Is
one
of
them
the
real
waaris?
That
Shashi
Ranjan
has
a
flair
for
comedies
is
evident
at
several
points
in
the
first
hour.
Together
with
the
dialogue
writer
Ashwani
Dhir,
Shashi
succeeds
in
making
you
laugh
at
the
funniest
of
situations
and
silliest
of
jokes.
That's
where
the
director
triumphs.
Note
the
portions
involving
Satish
Kaushik
and
Deepshikha
or
the
three
youngsters
claiming
to
be
Anupam
Kher's
nephew.
Shashi
changes
gears
and
uses
the
brakes
like
a
seasoned
driver.
But
the
car
runs
out
of
fuel
as
you
munch
popcorn
and
relish
the
samosa
after
the
interval.
In
terms
of
script,
a
number
of
questions
remain
unanswered
even
after
the
show
has
concluded.
Besides,
the
second
hour
is
an
exercise
in
boredom
and
gets
unbearable
after
a
point.
The
climax
is
also
a
major
hotchpotch.
Roopkumar
Rathod's
music
is
unlike
what
he
has
composed
so
far.
It's
easy
on
the
lips
and
quite
catchy.
The
title
track
as
also
'Ishq
Ka
Rog
Laga'
[filmed
on
the
seductive
Aarti
Chhabria]
stand
out.
Ashwani
K's
cinematography
is
perfect,
although
the
director
and
the
DoP
haven't
captured
the
beauty
of
Bangkok
to
the
optimum.
Dhoom
Dadakka
doesn't
demand
histrionics,
but
given
the
genre
of
the
film,
the
two
boys
-
Sammir
Dattani
and
Shaad
Randhawa
-
handle
their
parts
well.
Sammir
also
dances
well
in
the
title
track,
while
Shaad
mimics
the
top
actors
quite
well.
Aarti
and
Shama
are
more
of
eye
candies.
Of
the
supporting
cast,
Satish
Kaushik
is
excellent,
while
Deepshikha
exudes
tremendous
confidence.
Anupam
Kher
is,
as
always,
first-rate.
Satish
Shah
is
equally
convincing.
Gulshan
Grover
does
well.
Newcomer
Zac
has
an
inconsequential
role.
Jackie
Shroff
is
just
okay.
Razzak
Khan
does
a
fine
job.
On
the
whole,
Dhoom
Dadakka
could've
been
a
decent
timepass
flick,
but
it
misses
the
bus.