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Yamla Pagla Deewana Movie 20112 Comments

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In the years 1970 and 1980, Bollywood churned hardcore masala films of the dozens. These movies appeal to the ‘Balcony Class’ and the’ Stall Audience “[terminology used to parse the audience then]. Even today, movies like Sholay, Amar Akbar Anthony, Namak Halal, DON, ROTI AUR KAPADA Makan,

 

 

Yamla Pagla Deewana Movie

Yamla Pagla Deewana Movie

 

Dharam-Veer, Sikandar MUQADDAR KA et al, the most popular films of that time, an appeal to the man driving a car rickshaw, and the CEO of a multinational. Masala movies, in my opinion, can never go out of Vogue. The huge success of films like Golmaal and DABANGG last three years supports this view.

 

Yamla Pagla Deewana

Yamla Pagla Deewana

 

The reason why masala movies check this date because they have the power to entertain. I have often heard my friends saying that non-film cinema, for them, symbolizing a break with their families. They want to be transported to a world of make-believe in those three hours and forget their worries / sorrows / trials / tribulations in the process. YAMLA Pagla Deewana does and does so most convincingly.

 

 

Yamla Pagla Deewana ! Deol Family

Yamla Pagla Deewana ! Deol Family

 

YAMLA Pagla Deewana is a tribute to the cinema of yesteryear. Each line in the book hardcore commercial films made big money spinners then painstakingly read and integrated into the storyline of this one. In general, filmmakers often claim that their film hatke is that it has things that the viewer has not seen on screen before, but YAMLA Pagla Deewana makes no such claims. The old wine is bottled and packed in a new avatar.

 

Yamla Pagla Deewana

Yamla Pagla Deewana

 

What makes YAMLA Pagla Deewana work? A variety of reasons, if you ask me. One, watching the Parivaar Deol in a frame is an experience in itself. Two, drama, emotions and light moments are nicely integrated into the story. Three, the punches [most of them] are thoroughly enjoyable. Four, the entertainment quotient. More importantly, it delivers what it promised in its promos: Laughter and entertainment. It is a film that is responsible for the AAM Aadmi, who like to having a good time at the movies. It is certainly not for the hard-nosed critics or counterfeits posing as champions of arthouse cinema.

But YAMLA Pagla Deewana also has a downside: The romantic sequences are a bore and the music, except the title track and “Charha Rang De ‘is a earsore. Even the climax fight is very, very stereotyped. Fortunately, the pros exceed the minusses by leaps and bounds here. The second half, to be precise, restores the show to a large extent.

 

Hot Nigar Khan from Yamla Pagla Deewana

Hot Nigar Khan from Yamla Pagla Deewana

 

Last word? The fans of Deols, even those who had drifted away, certainly shot up in a big way. Triple masti, mazaa triple, triple magic … Go, go have fun without using your mind. The film begins in Canada, traveled to Benares and eventually finds its way to Punjab. The father-son duo of Dharam Singh and Singh Gajodhar [Dharmendra and Bobby Deol] are the biggest con-men in Benares. Their happy-go-lucky life to drink from it hilarious and cons on unsuspecting people. The only hitch in their perfectly notorious life she comes in the form of Paramveer Singh Dhillon [Sunny Deol].

 

 

Still From Yamla Pagla Deewana

Still From Yamla Pagla Deewana

 

A muscular and fair NRA Vancouver, Paramveer lands in Banaras claim that older brother Gajodhar separated in childhood will be. The duo Paramveer willingly accept their fold only to use his strength to serve their con games.

Meanwhile Gajodhar love Sahiba [Kulraj Randhawa], a pretty girl from Punjab. As their romance reaches its peak, her brothers [Anupam Kher and company] and violence are coming her way. Paramveer saves the day with a plan to fool the girl back to Gajodhar, leading them to the rural heartland of Punjab to win.

As I noted at the outset, YAMLA Pagla Deewana borrows from here, there, everywhere. You can draw parallels with Mirza-Sahiba, the legendary folklore that is popular this date. Memories of Bunty and Babli AUR Dilwale Dulhania Le Jayenge come to life while watching this. The climax, of course, cinema straight from 1970. In fact, Jasvinder Singh Bath writer makes a point to the viewer a new thrust to provide every 15/20 minutes. Of course, some are nice, some not.

 

Hot Kulraj Radhwana from Yamla Pagla Deewana

Hot Kulraj Radhwana from Yamla Pagla Deewana

 

From the writing point of the first half leaves you with mixed feelings. The electrifying undercurrent of emotions and how one wants director Samir Karnik and the writer would have tapped this aspect, instead of wasting precious celluloid on the romance between Bobby and Kulraj Randhawa. On the bright side, the action at the start – Sunny and Dharmendra saves from Bobby Johny Lever’s goons – is stunningly executed. It focuses on the whole mass. A number of comic scenes laugh at this hour.

The film redeems itself in the post-interval portions. The chart zooms up to the moment the focus shifts from Banaras to Punjab. The introduction of the character Anupam Kher’s, several brothers, the sequence with Sunny and Bobby ask the obvious Kulraj’s in marriage, the arrival of Dharmendra and Canadian wife Sunny’s Emma Brown Garrett later, Sunny’s speech in English at the election meeting. .. the fun never stops. Of course, the villain of the track [Puneet Issar] is an obstacle and the climactic fight, as I mentioned earlier, trying so hard to be funny. Also, the movie would have done the trimming.

Director Samir Karnik has focused on the film at the HOI Polloi and that segment of moviegoers would love his effort. In fact, the film has several mass appealing moments would either send the masses into a tizzy of excitement and they clap in delight. However, the clap-trap times more to the half hour. Jasvinder Singh Bath writer seems inspired by the film of Manmohan Desai and Prakash Mehra and if one overlooks the hiccups in the first hour, his screen writing does justice to the genre of the film. The songs are not attractive, except for the remix version of ‘Yamla Pagla Deewana’, and the old hit ‘Rang De Charha “which is melodious to the core. “Tinku Jiya” should appeal to the front-Bencher. Cinematography [Kabir Lal] is fascinating, the green locales of Punjab are well established moving image. Dialogue are well defined. The action sequences [Analarasu] are deftly executed.

Pouring the Deols together is an asset and their real-life bonding reflects wonderfully on the screen. Dharmendra is endearing and charming as ever. He justifies his part with effortless ease. Sunny is wonderfully understated. The public will love him as a sober man and those who expect the muscular star flex its muscles, or raise his voice [the angry man persona] will not be disappointed. Bobby is convincing, matching up to his iconic father and brother each time they appear on screen together. Kulraj looks great and makes a very confident big screen debut.

Anupam Kher is excellent. This has been his most amiable deeds. Johny Lever is funny in a brief role. Nafisa Ali is as gracious as ever. Sucheta Khanna is first class. Amit Mistry doing very well. Mukul Dev is to stage a comeback with this film. He is too good! Himanshu Malik is okay. Puneet Issar is wasted. Emma Brown Garrett [Sunny's wife] is amazing. Ditto for the two children, artists, adopting the role of Sunny’s Kids. Ajay Devgn’s voiceover at the beginning sets the tone for the film.

Overall, YAMLA Pagla Deewana is a hardcore mass entertainer which meets expectations of the AAM junta. Deols lovers will adore this one, while those who do not, will not ignore. The film works big time for the mass-appealing second half and plenty of entertainment to offer. The target audience is the mass and it is this segment of the movie going public that this film is to contribute to success. Business in single screens should be exceptional, but the movie needs new benchmarks in Northern India [Punjab in particular]. Internationally too, the best performing film in the UK, USA and Canada.

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2 Comments

  1. Becky

    Dude, right on there brtoher.

  2. Lynell

    I can’t bleviee I’ve been going for years without knowing that.

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