Love-stories
can be clichéd. One should never be ashamed of it or in the state of complete denial.
In fact, there will always be the ‘boy-meets-girl’ design in the plot, some or
the other way, but you can’t be so unimaginative, uninspired and uninteresting that
no one would even try to invest their emotions in whatever story you’re telling
or just cooking it up for the sake of it. Nikhil Advani’s KATTI BATTI is
probably year’s most lackluster romantic film; not just because it lacks the
chemistry, the spark, the romance or even the reason behind its existence but also,
for being a ruthless demolisher of a proficient actor’s potential [That goes
for Kangana]. This is a film where romance is judged by how competently you preserve
the first 20-rupee note your ‘true love’ has offered you with her phone number
on it, or how proudly you carry a piece of paper once used for writing the word
‘sorry’ as many as fifty times to brace your apology. I can hear you all going ‘Aww’
with multiple ‘W’s, girls! But this all happen, hold your breath, in a modern
day live-in relationship! Growing up is a choice, I fear most of the Bollywood
writers don’t like to go for.
The film
is set in a world where every Madhav involuntarily becomes Maddy [Imran Khan]
but Payal [Kangana] remains Payal despite being more foresighted, focused and
free-spirited than the cool dude in question. No wonder, she is called ‘a good
catch’, ‘chalu’ and a ‘man-eater’ who can chew men and spit out the waste, for
the choices she makes in her life. On the other hand, the boy is on the loose
to chase the girl until she accepts to be with him. 5 years later, they are
breaking-up. And then, of course there is a bunch of supporting human angles to
make it happening whatever needs to be in those circumstances! A friend who’s irritatingly
always there [Doesn’t he have his own life?], a bossy kid sister with her so-called
wise advices, another friend who’s shown pregnant while being already the mother
of a one & half year old toddler [Though it’s not a crime, I really want to
know what went wrong that night] and many others including a baddie actually
being a goodie. Did I just pass a lame clue here for a shamefully twisted
climax or eventually the director’s cover up for his own sins? I think I deserve
a ‘thank you’ to save some of your mental exercise.
Surprisingly,
the film starts with a really impressive scene where the couple is seen
discussing their live-in relationship status, in bed, followed by the inventively-shot
‘lip to lip de kissiyaan’ song. It smells fresh but only till you know the
writer has been briefed to make every scene a laughter-joint no matter how irrelevant,
erratic or unreal it is. The film is filled with scenes when humor is forced,
freaky and fatigued. As a writer, I can tell you how one sell these kind of
scenes to the director. The popular expression is ‘On-screen aur achcha lagega’.
We all have been made fools. While watching movies, one should always be
attentive as there might be a hidden hint for your own good. Well; just before
the climax, Nikhil throws a song named ‘Jaago mohan pyaare’ on us to make sure
all of us are awake to notice the high-point of his film i.e. the weepy-creepy
and shabbily sentimental climax.
Kangana
Ranaut, on the cast, is underused for her abilities to emote and over-used for
providing a gimmicky ‘different looks in one film’ formula, she apparently has mastered
in TANU WEDS MANU AGAIN. On the contrary, Imran is given more screen-time,
attention and opportunities to show his caliber. As a nerd, bore and one-track lover
of an ambitious, smart and animated girl, he is quite watchable. So is Vivan
Bhatena. Special mention to Suneel Sinha as Maddy’s father who has all the talents
and looks to fill the long-awaited gap for a cool, caring and compassionate Bollywood
father. Now, that’s some fresh casting I see.
There has been news of Aamir Khan seen crying
after watching this dead & dull romantic affair. I can only say, crying is
good but never for the wrong reasons. The makers should have an on-screen affirmation
saying something like, ‘This is the scene that made Aamir cry’, it would be
more helpful to incite some emotions in viewers. Otherwise, Nikhil Advani’s
KATTI BATTI is an affair NOT to remember! A ‘yawn’ experience! [1.5/5]
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