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Director: Mudassar Aziz
Cast: Fardeen Khan, Ishita Sharma, Sushmita Sen

Rating: * ½ / 5

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Dulha Mil Gaya literally breaks new grounds with taking a Bollywood plot to Trinidad and Tobago. But beyond that this marriage miscarriage movie moves east of West Indies to introduce India for the zillionth time as nothing more than a small village in pastureland Punjab.

So you are supposed to believe that Tej Dhanraj (Fardeen Khan) is a billionaire-bachelor-playboy and to retain all these adjectival attributes he has to agree to his late father's will. Ruefully, Randhir Kapoor is resurrected as the late father but is reduced to a retro portrait that does nothing other than subtly suggesting that the story dates back to his 1975 film Ponga Pandit. As per the will, Tej has to marry his father's friend's daughter to inherit the assets.

That brings the NRI protagonist to Punjab through the regular route traversed by almost every romance flick from Dilwale Dulhaniya Le Jayenge to Dil Bole Hadippa and several Namastey London in between. Tej registers a court marriage with gaon-ki-gori Samarpreet Kapoor (Ishita Sharma) for formality sake and runs away, never to return back. The gori takes it on herself to trace her husband in Trinidad only to realize she was conned.

Enter supermodel Shimmer (Sushmita Sen) who gives a facelift to Samarpreet revamping her to Samara so much so that Tej doesn't recognize her real identity. Evidently its Rab Ne Bana Di Jodi revisited with a gender reversal where the girl substitutes shaving-off-the-moustache gimmick with dropping-her-spectacles for an image makeover. Sadly that doesn't give any new perspective to the narrative.

If that wasn't indicative enough, Shahrukh Khan makes an appearance towards the end of a karwa chauth song and how one wishes at least he could have forestalled the foreseeable resemblance between his two consecutive releases. Candyfloss continues with a tinge of forced patriotism as the heroine counterattacks the illusion of Indian woman not being career-oriented saying, "India ki ladkiyan sau karod ghar chalati hai".

New director Mudassar Aziz comes from the old school of filmmaking who puts no lateral thinking in his conventional-to-the-core writing and direction. And though he doesn't resort to toilet humour, Mudassar (literally) employs latrine thinking in scripting a couple of scenes where cupid strikes when the couple is heading towards lavatory. The characterizations are as much clichéd as their conflicts.

The village belle gives way for some standard broken English jokes but the dialogues are far from being funny, forget witty. And when everything else fails to incite emotions, the background score struggles hard to achieve that. Choreographer Howard Rosemeyer almost replicates the 'Bole Chudiyan' dance steps in the karwa chauth song number. Leena Chanda's tackily designed set doesn't pass off as a cruise liner. Lalit Pandit's music is plain average.

Sushmita Sen carries a fake accent, occasionally does an Archana Puran Singh, has inconsistent comic timing but looks absolutely gorgeous. Ishita Sharma shows potential which remains untapped in a hackneyed film like this. Fardeen Khan is passable. Shah Rukh Khan doesn't rise above the regular in his extended cameo. Mohit Chadda doesn't get much scope. Tara Sharma shouldn't act without using a dubbing artist. Or better Tara Sharma shouldn't act. Johnny Lever is wasted in an inconsequential serious role. Howard Rosemeyer's acting is more animated than his choreography.

"Say yes to a relationship' reads the tagline of the film. But if you don't relate to a predictable plotline like this, rather say no to the film.

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Source - Economictimes.indiatimes.com

The recipe is simple and uncomplicated...
Take My Fair Lady.
Add Dulhan Wahi Jo Piya Man Bhaaye.
Spray Naseeb Apna Apna.
Sprinkle Dilwale Dulhania Le Jayenge and Rab Ne Bana Di Jodi.
Hey presto, Dulha Mil Gaya is ready to serve.


Dulha Mil Gaya is a mix of the above-named films. Like they say in filmi lingo, it's old wine in new bottle. So what? How different can a love story be, since this genre has been done to death in Bollywood? Point noted, but the narrative ought to be engaging if it has to strike a chord and that's where Dulha Mil Gaya falters.

Merely assembling A-listers and filming the movie at panoramic locations isn't enough. The film ought to have meat and that's missing here.

Let me elaborate. Debutante director Mudassar Aziz, who has also penned the script, borrows from the past, going for the tried-and-tested stuff, but the narrative, already low on fuel, comes to a grinding halt by the time it reaches its finale.

Donsai [Fardeen Khan], a young commitment-phobic debonair, is petrified with terms like marriage and long-term relationships. Samarpreet [Ishitta Sharma] is a quintessential Punjabi girl, for whom relationships are to be cherished.

Shimmer [Sushmita Sen] is a diva from the world of glamour for whom love and relationships aren't important in life as independence and success are. Pawan Raj Gandhi/PRG [Shah Rukh Khan] is a suave multi-millionaire whose heart still remains larger than his bank balance and for whom winning love is the only victory there is.

When paths cross for these four characters, they not only land up influencing each other with their outlook on relationships, but also get influenced themselves and learn a whole new meaning of the term.

Something that got ignited with D.D.L.J. continues to shimmer to this date. Our stories continue to travel from firangi land to the fields of Punjab. Dulha Mil Gaya too does that [initially], before My Fair Lady and Rab Ne Bana Di Jodi take over.

To give the credit where it's due, Dulha Mil Gaya has some interesting moments, but the problem is they are few and far between. One expects things to perk up when SRK's character is introduced [in the post-interval portions], but your hopes go crashing as nothing worthy of note occurs.

The writing has gaping flaws, which are difficult to absorb after a point. The girl travels all the way from Punjab to Trinidad and Tobago, but not once do her concerned parents call to enquire how she is. Strangely, even the girl doesn't feel the need to inform them. If that's not enough, Sushmita takes upon herself to tame Fardeen, giving you the impression that she thinks from her heart. But when it comes to her relationship with Shah Rukh, she behaves in a rather odd manner. SRK, on the other hand, seems completely besotted by her, even though she never reciprocates his feelings. Hence, her somersault in the end - just because Ishita has given her some bhashan - doesn't look convincing.

Mudassar Aziz's direction is a shade better than his writing. And that's not saying much. Given the fact that newer stories are being attempted in these fast-changing times and in view of the fact that he had some of the best talents on board, Mudassar should've seized the opportunity and told a refreshingly different and absorbing tale. But he doesn't. Sure, a few sequences are clever and smart, but that's not enough. The music is of a mixed variety. 'Akela Dil' is groovy, while the title track is strictly okay. Cinematography is appealing.

Sushmita excels in a role that demands her to be hoity-toity. She enacts her part effortlessly. One wishes to see her more often on the big screen! Fardeen does a good job, especially towards the end when he's about to confess something vital to Ishita. Ishita delivers a sincere performance. It's a pity that a superstar like Shahrukh is terribly wasted in an inconsequential role. It may not go down well with his fans.

Mohit Chadha has screen presence, but gets no scope. Johny Lever is wasted. Ditto for Tara Sharma. Suchitra Pillai and Howard Rosemeyer are passable. Parikshit Sahni, Bina Kak and Viveck Vaswani are as usual. On the whole, Dulha Mil Gaya doesn't work!
source-http://entertainment.oneindia.in

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