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HASEE TOH PHASEE - A completely predictable reverse gender version of MERE BROTHER KI DULHAN, which becomes MERI SISTER KA DULHA to say it all. (Review By Bobby Sing)

07 Feb, 2014 | Inspired Movies (Alphabetical) / H / Movie Reviews / 2014 Releases

The news of Karan Johar teaming up with Anurag Kashyap camp obviously gave everyone a reason to expect something exceptionally good, novel and out of the routine with such a young & energetic cast. But the product this joint venture brings in for us as HASEE TOH PHASEE is sadly far away of being anything original, great or fresh. On the contrary it can easily be called as a pure business venture planned to make some quick bucks cashing the current craze around its two leading stars and nothing else.
As far as the storyline is concerned, it is not exactly based on AAINA (1993) as was being speculated before its release. Yes, the basic premise of two sisters falling for the same guy is somewhat similar but to say the truth AAINA was a much better movie than this by all means. In one line, the film can easily be described as the reverse gender version of MERE BROTHER KI DULHAN (2011), which becomes MERI SISTER KA DULHA in simple words. So the story becomes anybody’s guess and that is the reason it turns out to be boringly predictable right from the word go, offering you nothing fresh in terms of content or script. Putting it straight, the debut director Vinil Mathew plays it pretty safe by not trying anything hugely innovative and delivers a quite routine, all seen before kind of love drama, close to the Valentine’s Day like a perfectly placed marketing product, made for its well-known producers.
Having said that, the only thing which actually makes the film bearable for at least once, is the splendid act of Parineeti Chopra once again in her fourth film, like a back to back century made by a relatively new player in the cricket ground. In fact she needs to be called the actual HERO of the project, leading confidently along with her young co-stars Siddharth & Adah Sharma. As the lover boy Siddarth plays it well like a mature actor and so does Adah Sharma in her fine portrayal of the elder sister. But without any doubt, Parineeti remains the only one always in your mind while watching the film right till the end.
However the other fact remains that the girl is just on the verge of getting typecast in all similar kind of roles and desperately needs to come out of this “Image Trap” in her next film positively by making some conscious efforts. In the supporting cast, Sameer Kakkar, Anil Mange and Neena Kulkarni are fine but Sharat Saxena & Manoj Joshi shine in their respective fatherly acts in the second half.
Talking about its writing part, which is done pretty casually (using everything seen before), I was really surprised watching few weak or rather silly sequences like the ones around a scientific discovery (in China), the whole drama around the necklace theft and then an awfully easy computer hacking in its second half, despite such experienced names in its producer line-up available for their expert guidance. But then, to save it from becoming a complete disaster, HASEE TOH PHASEE does have two worth mentioning scenes too like the father’s emotional outburst towards the end and a particular sequence when Parineeti is locked in the room without any attached washroom. And believe me, the girl truly shows her guts agreeing to such a difficult, bold scene, never enacted by a Hindi Film heroine ever in the past.
Musically it has some good tracks (Punjabi Wedding Song & Zah-e-Naseeb) which sound fine while watching the film in the theater, but once again we don’t have anything as a complete soundtrack to be bought from the market as usual. The cinematography & background score do contribute a lot in giving a catchy, polished look to the film in totality. Yet it’s the same old repetitive content which actually plays the spoilsport here, taking the charm away right from its first typical entry scene to say it all.
Summing up, HASEE TO PHASEE has nothing fresh in the name of subject or story progression, other than Parineeti once againg acting superbly as a strange, paranoid girl making all those weird faces. The film doesn’t have many entertaining sequences due to its clichéd, overused theme, so should only be watched in the theater if you are a big fan of Parineeti and don’t wish to miss her any film irrespective of the content. But for all other friends, wishing to see something exceptional from this well-known producer’s joint venture, you should ideally wait for its DVD release or the channel telecast, sure going to be there in the next few months.
On a lighter note, though it is just another romantic comedy to be forgotten after its first week but may be an objection from any “Women NGO” against its funny title degrading the women’s character and dignity, can do the trick by providing the much needed instant publicity & public attention.
Rating : 2 / 5 (With a special mention of Parineeti and her bold scene.)

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