Cast: Randeep Hooda and Kajal Aggarwal; directed by Deepak Tijori
After the lukewarm response to his previous films Oops, Khamosh and Tom, Dick and Harry, Deepak Tijori gets behind the camera again to direct Randeep Hooda and Kajal Aggarwal in what is supposed to be a passionate love story. His intentions are good, his actors are apt, but none of those show in his efforts...
Here's our review of the film...
What's it about
If the plot of Do Lafzon Ki Kahani had anything new about it, I would have given an extra star for that effort at least. However, DLKK is so similar to Deepika Padukone and Neil Nitin Mukesh's Lafangey Parindey, that I am left wondering whether Bollywood directors even check out what their colleagues are doing.
Anyways here is the plot of the film, which for some unknown reason is set in Malaysia...
Sooraj (Randeep Hooda), a champion kickboxer once, had retired from the arena due to a mishap in the past. Becoming more broody than John Abraham, he is now doing three jobs at a time to take care of a person whom he was supposed to nearly beat to death (a subplot the film easily forgets later). In the interim, he meets Jenny (Kajal Aggarwal), a visually impaired girl who loves crappy serials and boring others with her talks. However, like every Hindi film, opposites attract and they fall in love. Sooraj returns to his sport to make sure he has a domestic life. Later, he also learns that he was the reason behind her blindness. Wanting to make things right, he decides to get her sight back. However the operation requires a lot of money, so he takes some extreme steps and faces dire consequences as a result...as he battled to stay alive, we battled to stay awake!
Come on, Bollywood! Why are you so harsh on Randeep Hooda? You have such a fantastic actor in your roster, and yet you can't give him one good script to justify his talents. Be it his last release, Sarbjit, or the previous Laal Rang or even this film, Randeep has given his everything into role, yet gets shortchanged thanks to poor script or direction. No wonder he is confined playing sidey to Salman Khan in films like Kick. You can see his efforts in the scenes where he trains for his matches, and later in the fight sequences. Even in the softer, romantic scenes he is believable, be it in the awkward way he woos the girl, or when he breaks down after he decides to separate from her. As Jenny, Kajal melts your heart with her smile and her equally disarming performance as the blind girl. However, her character has nothing to do except to be on a smiley-teary mode! Both the leads share a cute chemistry together. The kick boxing sequences are choreographed well, and the songs are melodious.
We live in an exciting era when it comes to cinema, when even established directors are looking to serve something different. In this time, comes a weepie weepie love story that throws every cliche in the Bollywood handbook on your face. So we have the brooding hero with a dark past cliché, a chirpy and irritating heroine cliché, a lecherous boss cliché, a past that binds them cliché and so on. There is nothing new that the director is bringing much on the table. That big twist in the tale near the midpoint, already given away in the trailers, can be deduced by a six year old. For a love story to touch your heart, the scenes should be memorable and the dialogues quotable. However, the film fails on both the criteria. The editor seems to have dozed off at his desk, like the audience in the theatre, as the film seems never ending. At least the first half was bearable thanks to the cutesy cutesy budding romance between the leads. But the proceedings in the second half are so humdrum that you end up not even caring for the plight of the protagonists. You also end up questioning several things in the film. The reason for Sooraj leaving kick boxing the first time sounds hollow, and so does his intentions in not revealing himself to the girl when she gets her sight back. Also the flashback sequence is so lazily directed that we will blame the girl more for her erratic driving that lead to her loss in sight than Sooraj's hand in it. Apart from the leads, none of the characters make any impact. In fact some of them disappear for no reason, like Sooraj's mentor.
For a film that specifies that it is only about do lafz, it surely goes on and on!
What to do
This could be Deepak Tijori's best directorial effort, but that doesn't say much about the film. If it wasn't for the performances of both Randeep and Kajal, especially the former, the film would have been a total disaster. Can give a miss.
P.S. - what was the idea of setting the film in Malaysia, when every second person you meet is an Indian?
1.5 out of 5
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