- Release date: 12 April 2013 (India)
- Director: Rohan Sippy
- Box office: 22.32 crores INR (US$3.1 million)
- Music director: Ayushmann Khurrana, Falak Shabir, Rochak Kohli, Mikey McCleary, Laxmikant–Pyarelal, Anand-Milind
Story
When it may appear that standard Bollywood is stuck in the groove of tearing apart Hindi hits of the past, here is a Mumbai film that is nothing if not unique. It is motivated by a French lighthearted comedy of 10 years prior.
Rohan Sippy?s Nautanki Saala!, with its vigorous desi curve to a Gallic thought, has the vibe of a desert spring in the desert. It at last ends up being only a hallucination, however completely said and done its peculiarities have the weight to lift the film sufficiently high and keep it above water entirely all the way to the finish.
Sippy transports Pierre Salvadori?s Apres Vous from its Parisian eatery setting to the silly milieu of a Mumbai playhouse and flavors it up with lively gestures to Bollywood motion pictures and music.
Twist
He almost pulls off the far-fetched transmogrification. What’s more, that in itself is no mean accomplishment.
On account of spot-on star turns by the two male leads, Ayushmann Khurrana and Kunaal Roy Kapur, and a steady progression of interesting, if not through and through humorous, comic punches, Nautanki Saala! is, in the fundamental, a watchable film.
It may have been surprisingly better had the three female characters right now story been permitted somewhat more space to advance into genuinely unmistakable creatures. They are close to minor props in the background.
Songs
One young lady who is going to leave her consistent beau tells another who is trapped amidst a few suitors: this is 2013 and you are in charge. Believe it or not, she is definitely not.
There are three folks right now life ? one is her previous, one her present, the one more one her plausible future. It is they who hold the strings. She yo-yos from one to other like a defenseless puppet. Not on!
Yet, let us not criticize about the degree to which Nautanki Saala! is discovered needing. It truly doesn’t make a difference. The idiosyncratic love triangle that shapes the essence of the film is sufficiently interesting to last the course.
Performances
The male hero, Ram Parmar, RP to his companions, is a phase entertainer and executive who plays Raavan in a long-running stage creation.
In attempting to satisfy his mythic name, he weaves a trap of untruths and misleading statements and enjoys a lot of playacting with the goal that he can bring a self-destructive man (Kunaal Roy Kapur) once more from the edge.
Late for a supper date, RP, who blossoms with doing a decent turn a day, chances upon this person who is going to balance himself from a tree. He foils the suicide endeavor and encourages the worry wort.
Cinematography
The last ? his name, as RP learns simply after he visits his grandma in Pune, is Mandar Lele ? is a secondary school dropout and abandoned sweetheart who flounders unendingly in self-hatred.
The wellspring of Mandar?s burdens is the young lady he adores, Nandini Patel (Pooja Salvi), a flower vendor. She has jettisoned the person since he is no one worth mentioning.
RP makes sense of that the main way he can repair the tragic soul?s broken heart is by recovering the young lady into his life.
Editing
The line among life and dramatization starts to obscure as Ram succumbs to an inappropriate young lady, his own accomplice leaves him, and an unavoidable feeling of blame gets a firm grasp on him.
RP?s sweetheart, Chitra (Gaelyn Mendonca), depicts Mandar as a ?zakhmi narcissist?. Be that as it may, it is hard to make sense of what the blundering man truly is as he tears through a progression of occasions until he is transformed by an idiosyncrasy of destiny into Lord Rama in RP?s long-running play Raavan Leela.
The reliably smart composition (the screenplay and discourse are credited to Sippy, Nipun Dharamadhikari and Charudutt Acharya) loans the film the musicality of an outstanding demonstration.
Nautanki Saala! is character and discourse driven instead of activity arranged. The cleverness streams from the center of the circumstances and the verbal trades. It doesn’t need to depend on negligible muffles for impact.
In any event, when the pace will in general be slow, which is regularly, and the show seems to hail a piece, the film is never not exactly fascinating in its own sophisticated manner.
Ayushmann Khurrana is a flat out characteristic. He doesn’t miss a solitary stunt as he cruises through the job of the pleasant person who pays attention to acting too to his benefit.
Conclusion
Kunaal Roy Kapur is similarly as acceptable in spite of the fact that the character he plays is to some degree conflicting in the manner it is scratched out.
He sinks his teeth profound into the substance of the exasperatingly constrained person who never quits groaning and moaning. His vacant aura fits in flawlessly ? it raises a couple of laughs while bringing out some confounded compassion.
Actually, as well, Nautanki Saala! is a fine film. Particularly significant is DoP Manoj Lobo?s commitment to its look and surface.
The melodic score, an eccentric however wonderful mix of retro Bollywood sounds and unique tracks, adds a particular layer to the film?s aural structure.
The film merits full stamps for aim, notwithstanding execution. In any case, give me Nautanki Saala! any day after the barbarous ambush of Himmatwala and Chashme Baddoor!.
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