ilms are supposed to be entertaining but the third collaboration between Tiger Shroff and director Sabbir Khan is a huge disappointment. Not that their last two flicks (Heropanti & Baaghi) were huge, this film was expected to do well since it had Nawazuddin Siddiqui in the cast. However, when the story, execution and direction is weak, not even the great ‘Nawaz’ can save a sinking ship.
Munna (Tiger Shroff) is shown to be a huge fan of Michael (Jackson) and idolises him since forever; it is when his entry along with that of his friends is banned in the city that he decides to move to New Delhi, leaving an ailing father (Ronit Roy) behind. Munna finds work in the new city after he saves the life of Don Mahinder Fauji (Nawazuddin Siddiqui) – the job is to teach the don to dance so that he can impress his ‘love’ Dolly (Nidhhi Agerwal). Things get complicated when Dolly runs away and Munna falls for her when Mahinder sends him to find her.
The film’s story could have been treated like many Hollywood comedies where the Don is the butt of all jokes but here, the director had other local ideas. He added a dance competition that Dolly wants to win; there are also elements of Munna being a fighter; Don having a younger brother who looked older to him (Pankaj Tripathi) and other clichés that are inserted in films when the man heralding the project isn’t sure of himself. In a film about dance, the songs are supposed to be good but after you exit the cinema, no song remains in your head – the only thing that does is Munna’s dialogue that he delivers before a fight.
Tiger Shroff is now a four-film-old actor yet he looks the same in all his films. Be it the guy in Heropanti, Baaghi, The Flying Jatt and Munna Michael, all he does is dance, fight and deliver the odd dialogue. Like his father Jackie, he needs to experiment if he wants to stay relevant in Bollywood. Nawazuddin Siddiqui should not agree to such below average projects considering he has a huge fan base who don’t agree with his choice of films. He plays the don who wants to dance but he looks odd as the person fighting one moment and dancing the next. Yes, he can dance but not as well as the younger guys around and that should be enough to keep him busy doing his ‘character’ roles that have made him a force to reckon with.
Nidhhi Agerwal will need a lot of practice on her acting skills if she wants to become a dancing star in an industry where everyone can dance. As for the talented Pankaj Tripathi, he must forget that he was part of a film named Munna Michael, as he is a good actor who shouldn’t go for roles that pay and stay with the roles that increase his stature as an actor. Ronit Roy was good as usual although we still don’t know what was wrong with him when he was taken to the hospital. Sabbir Khan must understand that the audience wants to watch films that offer them something new – showing them what you want to watch is not the way to win their trust and a time might come where they will start ignoring ‘A Sabbir Khan Film’ for some other flick that might prove to be paisa vasool to them. •
Director Anees Bazmee wrote nearly a dozen films for director David Dhawan and they both love to have a story that revolves around twins – Mubarakan is no different. The film features Karan and Charan who are twins living as cousins that too in different parts of the world. Add a bachelor uncle, handful of girlfriends and suspicious parents and you get a perfect dish, known as situational comedy, in your plate.
Karan and Charan (both Arjun Kapoor) live with their uncle and aunt after surviving a car crash that took the lives of their parents. While Karan lives the life of a Jatt in England, Charan is all set in Punjab; they both have girlfriends they know their ‘parents’ wouldn’t approve of. One of them is a Muslim (Neha Sharma); the other (Ileana D'Cruz) has a past with her prospective mother-in-law (Ratna Pathak). Enters the daughter of one of their family friends (Athiya Shetty) and first Charan, then later Karan are picked to be the groom for the bride but only after a family feud that gets bigger when the date of both brothers’ wedding is fixed as the same. Interesting, isn’t it?
The most interesting aspect of the film however is the character of Kartar Singh (Anil Kapoor) who is Mamoon for one brother and Chachoo for the other. He considers himself a genius as he can think of a plan after getting inspired from anything, anywhere. He is the confidant of both the nephews and it is his planning that backfires from the beginning as he tries to remain good in everyone’s books. He has the most memorable dialogues in the film and even gets to show his skills as a dancer in the mehndi sequence. Pawan Malhotra and Ratna Pathak are exceptional actors and they prove their worth as brother and sister in scenes where they fight and later avoid each other; those sequences are a must-watch for aspiring actors as it tells them a lot about character acting.
As for the girls – Ileana D'Cruz, Neha Sharma and Athiya Shetty – the most powerful performance was delivered by the first two. Sunil Shetty’s daughter needs to understand that even if she is trying to copy Sonam Kapoor, she has to have a separate identity; Ileana D'Cruz looks beautiful in every frame while Neha Sharma surprises in her guest appearance as the girlfriend who stood behind his man when he was in trouble. The pop culture references make you laugh and there are a few lines here and there, when combined with the situation become hilarious.
Yes, the film takes the audience back in the 90s, when emphasising on family values was considered sure shot box office success. Arjun Kapoor’s twin roles must be appreciated as it is never easy to play two roles and be distinct in both – Karan is the street smart guy here who wants to win by hook or by crook, while Charan is the one who does nothing wrong except not being street smart. The controversy surrounding two songs – Hawa Hawa and Mubarakan – have only increased the audience’s interest in the film where the new Kapoor gets to show his skills with the master. Thankfully, this film is much better than Anees Bazmee’s last few attempts and one hopes that he manages to raise the bar in the future to give films that provide entertainment, rather than con the audience in the name of entertainment.
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