I did not like the promos of Hasee toh Phasee. They looked painfully
generic and disappointing despite the mention of Anurag Kashyap, Vikram Motwane
and Karan Johar in the credits. I sincerely believe the marketing guy who came
up with the phrase Cucking Frazy is a Mucking Foron.
I’m happy to report that Hasee toh Phasee is very unlike its
promos. For what it is, which is a bittersweet romcom triangle with a dash of
dysfunctional family drama, it is actually pretty entertaining. And for all its
periodic lapses in logic it is a well-made commercial film that actually does
have a little something for everyone.
The plot is as simple as the
recipe for a jam sandwich. Guy (Sidharth Malhotra) is a smart but wayward
bloke. Girl is a smart but wayward neurotic dame, and a female version of Rain
Man. Guy and Rain Woman meet briefly, and separate, but meet years later and
are drawn towards each other when Guy is about to get married to Rain Woman’s
sister (Adah Sharma).
With this familiar (and obviously
old school) concept laid out, director Vinil Matthew and his writer
Harshavardhan Kulkarni try to infuse a few layers of creativity into their project.
Rain Woman has some sinister Chinese connection, and seems to be an addict and
a thief. And there is a lot of dysfunctional baggage between her and her
family. It makes me realize that director Matthew is trying to change the
commercial Bollywood space, and Hasee toh
Phasee clearly indicates that. Matthew tackles comedic scenes with
refreshing restraint, playing them out without the familiar ‘comedy sounds’ and
reaction shots. He tackles the drama by neatly tying all the strands up in the
end. The love story and the offbeat banter between the two leads are
reminiscent of Garden State in both
tone and treatment.
For a first time filmmaker it
must be a staggeringly difficult task to balance the commercial elements of
Dharma’s target audience and the subversions of those very elements to create
something new. Everything about this film’s script is formulaic but Matthew
finds a new way to present it, finding a unique humerous tone in the formula. In
an effort to become more ‘commercial’ Matthew seems to be stuck with some agonizingly
uninteresting songs that stop the flow of the film, and he pushes most of them
to the backdrop of a montage. He also seems to be stuck with the frightfully
untalented Siddharth Malhotra who exudes very little charm and maintains
precisely one expression throughout the film. Matthew somehow manages to make
him tolerable rather than infuriating.
The dull songs and the unexciting
lead actor are massive drawbacks and they make the film merely entertaining but
never special, and that’s frustrating for a film lover like me. But it sure is
a great demo for how good a filmmaker Matthew is. That he made a seamless shift
from ads to cinema is not a huge surprise, that I'm now really excited for his future
projects sort of is.
Plus there’s the Parineeti Chopra
factor. Her performances in Ishaqzaade
and Shuddh Desi Romance set the bar
pretty damn high, and she hits a new high point in this film. She had a tough
role that could have easily wandered into the ham territory but she somehow
pulls it off. The film needed her comic timing, and it was spot on. She’d to
wear a wig without looking ridiculous, and she did it. She’d to make bizarre hypochondriac
facial expressions without overdoing it, and she accomplishes that too. She’s
perfectly natural when she laughs and pretty convincing when she cries, and not
annoying when she breaks the fourth wall. Clearly her performance elevates Hasee toh Phasee from something
lightweight and disposable to a very watchable feature. About time someone cast
Parineeti and Ranbir Kapoor in the same movie. You don’t even need to give them
a script, they’ll just naturally set the screen on fire.
You could point out the overwrought
melodramatic turn in the finale and the dash of Gori Tere Pyaar Me thrown in Hasee
toh Phasee. The film clearly dumbed down Rain Girl’s addiction to
anti-depressant pills – a braver film would’ve shown her as a drug abuser. Things
get quite ridiculous and some of the decisions the characters take don’t make
much sense and are contrived to lay the foundation for a happy ending. The film
also gets a little repetitive in the third act. But the goodies outweigh the
gaffes here.
Wedged into the movie is a band
of wonderful supporting actors including Manoj Joshi as Rain Girl’s empathetic dad,
Sharad Saxena as a hilariously investigative retired cop, Sameer Khakhar
(Khopdi from Nukkad) as a
cantankerous uncle, Anil Mange as an amusing Bhojpuri Idol wannabe. Adah Sharma
delivers a surprisingly solid performance as a girl stuck in a loveless
impending marriage – it makes you wonder why she was wasting time in Vikram
Bhatt’s horror films all these years. There’s even a really funny bit character
who keeps bumping into everyone and tries to strike a conversation. The casting
director has a good eye for little details and it makes the characters relatively
fresh on the surface despite being resoundingly familiar beneath. It helps Hasee toh Phasee render an original spin
on an old concept that is just enough for film lovers to get behind for two and
a half hours.
(First published in Firstpost on 7/2/2014)
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