PRIYADARSHAN SEEMS to have finished a trilogy with “Hera Pheri,” “Hungama” and now “Hulchul.” Yet, the similitudes end with the way that they are for the most part revamps of Malayalam comedies and begin with the letter H. “Hera Pheri,” “Hungama” and “Hulchul” are as varied as chalk, chopsticks, and chess. Chess, since this Akshaye Khanna-Kareena Kapoor starrer is loaded up with medieval fights as a war of words and swords follows, before the pair gets together in this ”insane romantic tale.”
The Masala Puris: The patriarch Angaarchand (Amrish Puri), eldest child Balram (Jackie Shroff), Kishen (Paresh Rawal), Shakti (Arbaaz Khan) and Jai (Akshaye Khanna who plays the youngest of the four children in the family that keeps its doors always closed for women). The Dare-Devis of neighbouring Anpara: The authority Lakshmi Devi (Lakshmi), Suniel Shetty, Shakti Kapoor and siblings and granddaughter Anjali (Kareena Kapoor, whose wedding to a Minister’s son stops after the Masala Puris take a couple of MLA’s their ally). Presently, Devi needs retribution, sends Anjali to charm her school mate Jai.
After two or three duets and comic relief from Arshad Warsi (who about repeats his job of the hero’s companion, this time as ‘lucky’), the couple pretends to be in love. Like Anjali, Jai too needs to pretend fake love to Anjali to settle the score with the people from Anpara. Be that as it may, as it will undoubtedly occur, the two begin to look all starry eyed at and understand the hugeness of the errand in front of them — to get Jai’s lone wolf siblings wedded, and reestablish harmony between the warring towns.
The film gets pace progressively and prompts some comical circumstances, on account of perfectly coordinated exhibitions from Arshad Warsi and Paresh Rawal and lines by screenplay writer Neeraj Vora. However, in the second half of the movie, the filmmaker blends dramatization and sentiment and resorts to fist-fights and item numbers for relief. This is the place the group of spectators, which mixed up “Hulchul” for a parody in the association of “Hungama,” find itself let down. The provincial settings of the medieval towns have been stylishly caught by cinematographer Jeeva and Vidyasagar’s remakes of his Tamil songs prop up the rest of the film.
Jai is a cakewalk of a job for the very gifted and under-appraised Akshaye Khanna and Kareena Kapoor is common and a stunner. Arshad Warsi and Paresh Rawal assume the liability to convey the best lines, particularly in the scene where Lucky and Jai attempt to persuade Kishen to get hitched and make a beneficiary for the family yet Kishen, oneself declared Hanuman-aficionado rejects saying: ”Hum Dinosaur ki Aakhri Peedi hai kya?” (Is our family last heir the Dinosaurs?). Or on the other hand when Lucky advises Jai to counterfeit a ‘mother-promise’ to Anjali saying that it’s okay to fake promises when the mother is already dead. ”She’s dead; you think she’ll be watching you from a satellite?” The film sure does have a lot of chuckles yet the rest is an absolute ‘time-pass.’
There’s a greater amount of everything in “Hulchal”. The jokes are more extensive, the amazingness is cruder, the drama is more intense, and the quarreling and smoldering medieval canvas is so extended, it makes the Mahabharata look compact in comparison.
However, the tale of a fighting family united by their offspring is the same old thing to Hindi remake of south Indian movies. Satish Kaushik’s “Badhai Ho Badhai” and Ravi Shankar’s “Kuch Tum Kaho Kuch Hum Kahein” are ongoing examples. Obviously, in the south, zamindars with mustaches that spin like whips are still in.