The story that tries to talk about the relationship rigmaroles of the Facebook GenXers doesn't seem to be tailor made for an e-wary Himesh. It just is a bit too young with its FB terminology and its twenty-something heroine (Shenaz Treasurywala) who has a penchant for updating her status on the social network, whenever she's not making eyes at her colleague. So, naturally all this spiel about `commitment', `closure' and a `complicated' relationship status does end up as awkward and odd from someone who would have outgrown FB, Orkut, MySpace years ago.
Also, the story is told in awkward jerks, through Tarantino-ish chapters. Only, unlike Tarantino, these chapters bear weird names about kurkure, kadhi and Paranjabi lassi. But, all said and done, the film has its moments. The radio jockey's attempts to engage with Treasurywala's hybrid Punjabi-Parsi family, headed by Zakir Hussain, does have a lot of fizz. As do some of the romantic tangles between the unlikely threesome of Himesh, his ex-wife, Sonal and his girlfriend, Shenaz. But what works most is the music of the film. The audio track reinforces his expertise, both as a singer and a composer, making you wish the musical was defined in a better way.
Time for the singer-composer-actor to take up something that suits both his age and his newfound style.
A word about:
Performances: Himesh looks fresh and tries to act different. Works partially. Sonal is peripheral. Shenaz is watchable. Paresh Rawal's Jhandu Lal Tyagi is funny. Zakir Hussain is high-spirited.
Music: The audio track's a winner, specially songs like Jaaneman, Piya jaise ladoo and Rafa dafa...Himesh scores both as a singer and as the music director of this unusual album.
Story: Ishaan Trivedi tries to tell his story differently, in non-linear chapters. But the ruse misfires.
Dialogue: Just a few tag words like closure, complicated, commitment phobia, relationship status, f*** buddies doesn't augur for a peppy, youthful script.
Choreography: Longinus Fernandes can hardly do anything with two-left-feet Himesh. All he does is make Shenaz sway.
Cinematography: The camera follows the love birds as they fight and make-up in the streets and upmarket apartments of Mumbai. But Attar Singh Saini perks up mostly in the Punjabi-Parsi home of Himesh's prospective in-laws where he creates some warm cameos.
Styling: The high point of the film is just one: Himesh sports a new hair do and a cool, casual avtar of a not-so-hep RJ
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