Besharam
This is a film that leaves you wondering about the aesthetic sensibilities of the people behind it - writer-director Abhinav Kashyap and the star cast led by Ranbir Kapoor. They have been completely 'dabang' in their 'besharmi', as you wonder at what they were thinking of when serving up such offensive drivel.
Besharam means shameless and the offering should make the people behind it cringe. If puerile toilet humour and cheap sexual innuendoes and ridiculous action sequences are your idea of a comic action thriller then go for it. Otherwise it is a waste of your time.
The flimsy story revolves around a loutish orphan, Babli with a heart of gold and a libido waiting to go on the rampage. He has a sidekick, Titu who begins in earnest as a partner in crime but gets forgotten somewhat by the script and resurfaces only sporadically. The two of them hang around market places, ostensibly as auto mechanics or 'car doctors' as Babli puts it, but actually looking for cars to steal.
During their first heist, they run into the alliteratively named Haryanavi police inspectors, Chulbul and Bulbul Chautala, the senior Kapoor couple, Rishi and Neetu. Though the thieves escape after a comic chase, the director establishes a connect between Babli and the Chautala couple, Chulbul and Bulbul. Babli then gets commissioned to steal a new car for an influential Hawala king, Chandel who struts around in riding breeches and acts like a sly fox and a dimwit in turns.
The car they set their eyes on is the brand new red Mercedes sports model that the heroine, Tara, called 'beautee' by Babli, acquires with all her savings as a manager in a corporate firm, as her simpe mother reveals. The stolen car is taken to Chandel of Chandigarh and on their return after a safe delivery, Babli realises that the car belongs to Tara, the 'beautee' who he is vigorously wooing.
So now it is time to steal the car again and deliver it back to its rightful owner. In the ensuing escapade, the disdainful Tara falls for Babli of the goldeh heart who by the way, steals cars to finance his band of orphaned kids as he himself has grown up as an orphan with no parenting influence to keep him away from crime.
In the middle of this, the Chautala couple, go through regular marital skirmishes while they are on the look out for some ill gotten money to plan for their retirement. Used as a casting coup and comic relief in turns, their act is laced with large doses of potty humour, replete with loud farts for good measure. One wonders at what could have motivated Rishi and Neetu Kapoor to descend to such crass levels of comedy at this stage in their lives.
As for Ranbir, there is a presumptuousness in his act that could be his undoing. His recent outing like, Yeh Jawwani Hai Deewani has shown him to be a fleet footed dancer and scored even though the story line was not very strong. But the loud clothes and obscene gyrations here, including a bath scene with glimpses of his butt crack, lack in both grace and aesthetics. That makes one wonder whether his dancing prowess depends largely on competent dance directors than any inherent grace and talent.
Newcomer Pallavi Sarda, playing the heroine Tara, is given little scope, making her role more of a cameo. She resorts to tight fitting and cleavage revealing outfits to make her presence felt but unfortunately is eminently forgettable. Jawed Jafferi as the Hawala king , Chandel is at best a caricature in the fitful appearances he is allowed.
Lastly, Abhinav Kashyap seems a tad bit desperate in this offering as he shakes a leg, albeit awkwardly as part of the chorus in the first dance number with Ranbir in a golden outfit. Surely, AK, you can raise your act above such gimmicks and give us some value for our money!
This is a film that leaves you wondering about the aesthetic sensibilities of the people behind it - writer-director Abhinav Kashyap and the star cast led by Ranbir Kapoor. They have been completely 'dabang' in their 'besharmi', as you wonder at what they were thinking of when serving up such offensive drivel.
Besharam means shameless and the offering should make the people behind it cringe. If puerile toilet humour and cheap sexual innuendoes and ridiculous action sequences are your idea of a comic action thriller then go for it. Otherwise it is a waste of your time.
The flimsy story revolves around a loutish orphan, Babli with a heart of gold and a libido waiting to go on the rampage. He has a sidekick, Titu who begins in earnest as a partner in crime but gets forgotten somewhat by the script and resurfaces only sporadically. The two of them hang around market places, ostensibly as auto mechanics or 'car doctors' as Babli puts it, but actually looking for cars to steal.
During their first heist, they run into the alliteratively named Haryanavi police inspectors, Chulbul and Bulbul Chautala, the senior Kapoor couple, Rishi and Neetu. Though the thieves escape after a comic chase, the director establishes a connect between Babli and the Chautala couple, Chulbul and Bulbul. Babli then gets commissioned to steal a new car for an influential Hawala king, Chandel who struts around in riding breeches and acts like a sly fox and a dimwit in turns.
The car they set their eyes on is the brand new red Mercedes sports model that the heroine, Tara, called 'beautee' by Babli, acquires with all her savings as a manager in a corporate firm, as her simpe mother reveals. The stolen car is taken to Chandel of Chandigarh and on their return after a safe delivery, Babli realises that the car belongs to Tara, the 'beautee' who he is vigorously wooing.
So now it is time to steal the car again and deliver it back to its rightful owner. In the ensuing escapade, the disdainful Tara falls for Babli of the goldeh heart who by the way, steals cars to finance his band of orphaned kids as he himself has grown up as an orphan with no parenting influence to keep him away from crime.
In the middle of this, the Chautala couple, go through regular marital skirmishes while they are on the look out for some ill gotten money to plan for their retirement. Used as a casting coup and comic relief in turns, their act is laced with large doses of potty humour, replete with loud farts for good measure. One wonders at what could have motivated Rishi and Neetu Kapoor to descend to such crass levels of comedy at this stage in their lives.
As for Ranbir, there is a presumptuousness in his act that could be his undoing. His recent outing like, Yeh Jawwani Hai Deewani has shown him to be a fleet footed dancer and scored even though the story line was not very strong. But the loud clothes and obscene gyrations here, including a bath scene with glimpses of his butt crack, lack in both grace and aesthetics. That makes one wonder whether his dancing prowess depends largely on competent dance directors than any inherent grace and talent.
Newcomer Pallavi Sarda, playing the heroine Tara, is given little scope, making her role more of a cameo. She resorts to tight fitting and cleavage revealing outfits to make her presence felt but unfortunately is eminently forgettable. Jawed Jafferi as the Hawala king , Chandel is at best a caricature in the fitful appearances he is allowed.
Lastly, Abhinav Kashyap seems a tad bit desperate in this offering as he shakes a leg, albeit awkwardly as part of the chorus in the first dance number with Ranbir in a golden outfit. Surely, AK, you can raise your act above such gimmicks and give us some value for our money!
