BHEJA FRY

The Movie


Abridging the scene-wise illustrations to the gist of the stimuli-responce datasheet for the movie, let me first elucidate my views (that were, n those which found surface with the course of the movie) on the leading actor of the film, Vinay Pathak, who played a mistrel, an ever-slurring nut, and an unstoppable, unyielding storm of idiocity who can irk u to baldness.
This guy, Pathak, is either a perfectionist n that too a skillful one, who appreciates n recognizes the struggler (that was) within him n greets n accepts all chalenges [ Can u play a cheracter as subtle as this? (as in Khosla ka Ghosla), or sumtimes, Can u live a role as worthless, as senseless, n as fruitless as this? (as in Bheja Fry) ], or on the other hand, dis Pathak thing can be a totally dumbstruck, and ignorant self, who believes that in order that the generations to come recall of him as a legend, his must make his senseless n weird humour, his emblazon.
With the former being true, this guy is so immersed in his talent that, petty issues like the aim of the role, the plot, the message of the movie, all "no-bar", n thats what make the genious out of the actor go barren.
For the latter conjcture to hold the sceptor the fate of the movie is girded even before the definition of the plot. But then what can anyone forecast with the Indian audiance and their arses firm on the seats.
Any damn thing can call for descriptions in historical Archives if Mrs. Sharma cooked well before the movie that day n both of them had an unwavering quicky last night.
This is how Indian Cinema grows with Sharmas n Singhs on the corner seats and Kumars n Syeds occupying the centre stage (The arrangements are conditional to the State concerned and the Chief Minister in power).

Well, the other 4 (Sarika, Ranvir Shorey, Rajat Kapoor, Milind Soman) were all gud in their own primitive styles.

Sarika though adding no quality to the flow of the movie, was fine in her performance (the role offered to her was such a loose that none, no matter hw talented could add a current) and up to the director's mark.
I wonder what this man, Sagar Ballary, wanted out of the movie, woth all skillful actors gives parts proportionally worthless, the script of the movie identifying no mark, no aim, and absolutely no plot or sequence worth flaunting the camera skills. Those 30-40 songs, which would have been an added bemish to the already corrupted commercial stuff, may have added some masala here. But the director Mr. Ballary leaving no dung-cake unturned (may be he needed some for cheap fuel in his chimney) replaced those erotic booty revealing shakers with the moans of hitherto personification of headache, Mr. Pathak.
Ranvir Shorey, this time given a chance proved his worth by being perfect in his impersonation, and his was the only comprehensible character to the tunes of which on e could diffuse a chrotle or two. But then how can we get par the weak and cliched dialogues written as if on parole.
Rajat Kapoor, another affluent artist was again a victim of the spiritless, lifeless role.
Though the idea of a sadist, opulent man , addicted to his debauched taste was ingenious n new, but the way of planting such a complex psyche with the aid of timid narratives n threads was inclined to render the thought ineffective, and it did.
Milind Soman, in his I-was-the-first-Indian-male-supermodel accent, was OK in his share of the storyline. Aristrocratic, as he certainly is, did raised some eye-brows, but hw long??

So, as it has materialize, Bheja Fry with an absolutely talented casting, lagged the finishing of an equally talented director, backed by an aim-oriented core and an intense dialogue dilevery.

This was more of a play, a curtain raiser for some theatre than a 70 mm silver screen pot-boiler...