How much romance should be in a romantic comedy? I have always felt that the makers of contemporary Bollywood romcoms have not been able to figure that out yet. There’s the new age filmmakers, who believe in ‘less is more’ so there seems to be this big fear when something reaches towards an emotion, or more like, ‘OHMYGOD EMOTION! WHAT DO WE DO NOW? THIS WILL MAKE PEOPLE FEEL AND THAT WILL DESTROY THE WORLD’. For example, the recent Finding Fanny, or Hasee Toh Phasee or Shuddh Desi Romance or you know, Dunno Y.. Na Jaane Kyun (#badjoke).
Then there’s the old school Bollywood filmmakers – or new age old school Bollywood filmmakers – who are basically the sons of somebody or one of the 100 relatives of the Bhatts, who approach emotion as a fat man would approach food: ‘LET’S HAVE EVERYTHING! THIS IS SPARTAAAAAAAAAAA!’ For example, Ek Villain, Aashiqui 2, Tum Mile, and 300 (#secondbadjoke)
And then there’s Dharma, YRF and Imtiaz Ali, who straddle the thin line in between, basically behaving like a drunk guy walking trying to walk straight: one time he will fall to the left, one time he will fall to the right, but he can never, ever stay in the middle. But every once a while, there comes a guy who, like a veteran drunk, can contain his daaru, and *own* this bloody line. Habib Faisal is one such veteran piyakkad (and I’m going to ignore that he wrote Bewakoofiyan because you know what, shit happens, ok?).
Faisal so expertly straddles the rom and the com in his movies that it’s hard to believe the genes of a 16 year old teenage girl and a, say, Asrani or Mehmood, or Keshto Mukherjee, doesn’t run in his blood at the same time (although I have no proof it doesn’t).
Let me cut the crap now and get to the point: Dawaat E Ishq is a romcom feast! It’s a delicious (#wordthatgoeswithdaawat) film with just the right ingredients in just the right quantity (#diditagain) and all the right garnishing on top (#somebodystopme) to make for a perfectly cooked meal (#omgthisisadisease) of love and fun. (#sorry)
I’m not going to get into the story since you should discover that yourself, but what I really loved about the movie is that it’s a movie that completely maintains its irreverent tone from the very beginning to the very end; never for once taking itself too seriously. When there is romance, it’s emphasised so very well in body language or through the eyes, or through the face; basically through everything Parineeti Chopra does because she’s just that damn awesome.
And when there’s drama, it is emphasised not with blaring emotional background music (*cough* Bhansali films *cough*)or a bucketful of glycerine (*cough cough* Bhansali films *gets asthma *); but just through great writing that leads itself to a conflict so well, that you are naturally intrigued to what could happen next. And what happens next, is usually a witty line or a smart foil of a cliché, usually through the OUTSTANDING Anupam Chopra – who is just as good as an Amitabh Bachchan or a Rishi Kapoor in any damn thing he does; in fact, several times he’s better – and the very charming Aditya Roy Kapoor, who’s quite a revelation, really.
For example, in the scene in which Gullu (the girl) has just been proposed to, the camera just stays on her face for a bit – and she is given the freedom to make us feel. And she does it so damn well, that you can’t help but feel and get tingly inside, perhaps because of the direction, perhaps because it’s Parineeti! And when there’s a conflict – like the finale – without giving any spoilers – there’s a leap of logic and some surreality but never any hammering the point away, all done to maintain that fantastic tone that’s been carried from scene one.
The chemistry between Parineeti and Aditya Roy is quite outstanding. To be honest, Parineeti can generate chemistry with a dying puppy if she wants (#ArjunKapoor #runningjoke); but full credit to Aditya Roy Kapoor, who’s taken to the role of a dil-phenk Lucknawi nawaab of the streets, like Deepika has taken to an anti-TOI activist (#snarky #sorryDeepu). To be honest, I really didn’t know Kapoor can act so well, but he’s immensely likeable in this, and makes one thing clear: he belongs among the leads, and he’s here to stay.
Karan Wahi, in the small role he has, is very, very sweet and, pardon my French, cute, and does a super job of making us like him. I really want to see what Kapoor and Wahi do next; their charm is a healthy thing in an industry that needs more of them else Saif Ali Khan will NEVER STOP playing romcom roles. IS THAT WHAT YOU WANT? And once again: Anupam Kher!!!!!!!!!!! I mean, what an actor!!!!!!! What a star!!!!!!!!! He owns every frame of what he does!!
The only thing that got my goat a little bit were the badly placed songs, and well, the fact that it had very little plot, but when did things like plot ever come in the way of an enjoyable film, right? I would totally recommend the film: it’s such a great family film after such a long, long time. Light, breezy and very entertaining. And the best part: while being all this, it also makes such a fantastic point about a social evil dowry (so very Rajkumar Hirani-esque, yay). So basically: Habib Faisal roxxxx!
Note: This article first was first put up on Facebook on September 19, 2014. Link: http://goo.gl/Uk51lH
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