Spoilers ahead…
When we meet Meeta (Parineeti Chopra), she seems to be auditioning for the part of an autistic savant. She’s clearly some sort of genius, but she looks a little unhinged. She blinks furiously. She tucks in her lower lip and sticks her tongue out. When she’s not popping a cocktail of pills, she’s scarfing down toothpaste and sugar. These traits are on display throughout Vinil Mathew’s Hasee Toh Phasee, but a little before interval point, we realise that – savant or not – Meeta is essentially a child. “Bade hokar life ko complicate karte hain,” she tells Nikhil (Sidharth Malhotra), when she finds him wringing his hands over a situation – and we see that these aren’t hollow words but her life’s philosophy. She doesn’t overthink things. She just goes ahead and does whatever she wants, without worrying about consequences. When she wants money, she steals it. When she wants a guy – Nikhil, who’s engaged to her sister Karishma (Adah Sharma) – she coolly asks him to marry her and leave Karishma. She’s slapped constantly, like a naughty child, and her annoyingly squeaky shoes are the kind you’d see on children. She even has a peeing-in-the-pants moment.
Nikhil, on the other hand, is a grown-up – at least he’s trying to be one, doing things that he thinks are the right things to do. Very early in the film, we get a couple of sequences that establish what adventurous out-of-the-box thinkers Meeta and Nikhil are as children, but while Meeta has held on to this spirit, Nikhil has lost it along the way. He meets Meeta in his teens, and she asks him to jump into an auto-rickshaw and come with her to Goa – he’s tempted for an instant but his rational self asserts itself and he declines. And now, he’s become a dull man, the kind of person who wants to conclude a business deal not because he has a passion for it but because he can tick another item off his to-do list and go on and get married. (Had he followed his heart, like Meeta, he’d have become a police officer.) He has the fears of a grown-up. At some level he knows he doesn’t love Karishma, but he’s afraid to break up with her because he says – in a touching moment – that she may not come after him and he’ll end up alone. Breaking up is easy, he says, but sustaining a relationship when the going gets tough? That, in his eyes, is the mark of a grown-up.
Seen one way, then, we have here the classic rom-com set-up of opposites attracting. But the thing is, they’re not really opposites, and Hasee Toh Phasee isn’t exactly a rom-com. Part of Mathew’s agenda is to tell a coming-of-age story with two people who’re different in many ways and yet similar in some. Nikhil and Meeta are both the odd ones out in their traditional families (her exasperated uncle says, of her “unfeminine” ways, that she’ll bring home a bride, not a groom), and they both want to escape – it’s just that Meeta has gone ahead and escaped, while Nikhil has convinced himself that the life he’s leading is the right life for him. Meeta needs to grow up. She has to learn how to think about others, how to handle emotions without suppressing them. And Nikhil needs to find his inner child, that boy who effortlessly slipped out of a locked room many, many years ago, to get to a screening of Agneepath.
Mathew has a light touch and he pulls off the “com” part of his film quite delightfully. The conversations between the leads are loaded, yet casual, like the exchange that results in Meeta finally remembering that, yes, she has met this man earlier. The marginal supporting characters are played by good actors (especially the Anu Malik devotee) and they’re given nice bits. I liked the touch with Nikhil’s “lucky trousers,” and many of the extended comic sequences – the crazy walk through a crowded Mumbai marketplace, the search for a missing necklace, and a very funny attempt by Nikhil to help a faraway Meeta catch a glimpse of her estranged father (Manoj Joshi plays this character beautifully, a successful businessman who doesn’t seem to have forgotten that he began life in a chawl).
But the heavier scenes don’t work at all. Part of the problem is that the film, as it goes along, becomes broader and more “Bollywoody,” with wedding songs and a disgraceful computer-hacking scene and a cell-phone-era update of that old trope involving a conveniently overheard conversation. The Shake it like Shammi song sequence doesn’t really belong in the film, but it’s buried behind the opening credits. (Besides, it’s a lot of fun.) The other music videos are awful speed-breakers, and worse, they clash in tone with the film we thought we were watching. This is the problem with these films. They begin by wanting to stay far away from cliché – the characterisation of Meeta, for instance (when was the last time you saw a science genius as a heroine?) – but along the way, they get cold feet, and begin to wonder whether the first-weekend target audience, lured by that oh-so-fun title and those oh-so-young-and-yummy stars, are going to sit through something so quirky and different. The makers of Ek Main Aur Ekk Tu (another coming-of-age tale masquerading as a rom-com) stuck gutsily to their off-kilter course, but Mathew, gradually, loses the plot.
The big Bollywoody scenes are too restrained. There’s an excess of “good taste” going around. (You can almost hear Mathew saying, “If we have to have these bloody scenes, let’s at least tone them down.” But these scenes just don’t work when toned down.) We see two large households (with kids), but there’s no incidental noise or movement. The air is dead. Everything is so artfully designed that even at a puja, where smoke fills the room, people cough politely into their handkerchieves. (And the near-geometric way in which they’re positioned suggests that the seating arrangements were done by an art director.) Nikhil tells the emotionally blocked-up Meeta that when normal people get depressed, they cry and scream. That must be the film’s biggest joke. We never see that kind of intensity anywhere, not even in the scene where Nikhil embraces Meeta for the first time – though this may also be a reflection of Malhotra’s inability to do much more than project a charming geniality on screen. (Would you buy him as an IPS officer?) Where’s the prickliness we were promised early on, when Meeta tries to cross over a wall and gets tangled in barbed wire? And what is this bland love triangle we seem to have landed in, where the third angle (Karishma) is so one-dimensional that we don’t feel a thing for the fate that awaits her?
The time spent on the tiresome machinations keeping Nikhil and Meeta apart till the last possible minute ends up shortchanging their romance, and – more damagingly – her character. Her pill-popping and her science-guru subplot come off looking more like a dash of colour, something to make her appear more “interesting,” than something real and rooted. And yet, Parineeti Chopra does some remarkable things with the part. At first, I feared we’d be seeing one of those mannered performances that actors resort to when asked portray an illness or a condition, but those scenes, thankfully, are kept to a minimum. The rest of the time, Chopra manages the difficult feat of making us care (at least to an extent) for a character who doesn’t project any emotion. The innate Parineeti-ness – that no-bullshit quality, that disarming directness, that ability to transform “dialogue” into matter-of-fact conversation – is reimagined with slightly newer shades, and this performance is another sign that we may be seeing the evolution of a major actor-star, one who can be others even while she’s being herself.
KEY:
* Hasee Toh Phasee = If she smiles, she’s mine
* Agneepath = Path of fire.
* Ek Main Aur Ekk Tu = There’s you and there’s me.
* chawl = A large building divided into many separate tenements.
* puja = Religious ceremony.
* Anu Malik = You really don’t want to go there.
Copyright ©2014 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
venkatesh
February 9, 2014
BR:
What’s this new “KEY” thing at the bottom ?
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Srini
February 9, 2014
“Anu Malik = You really don’t want to go there”
LOL 🙂
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Abhirup
February 9, 2014
Agreed for the most part, but I think a couple of “heavy” scenes are well-done. The scene where Nikhil remembers that he had locked Meeta in a room, rushes to her, and finds that she has wet herself, was quite touching. He had thought her “aagar bathroom jana ho toh?” was just an excuse to stop him from locking the door, and now he realizes she was actually talking about a real problem that she suffers from. I also liked the reunion between Meeta and her father. It’s beautiful.
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Abhirup
February 9, 2014
As for the “music videos”, the only song in the film that fits that category is ‘Punjabi wedding song’, and I agree with you that it’s very unnecessary and forgettable. The other songs aren’t really “music videos”, are they? ‘Zehnaseeb’ and ‘Ishq Bulava’ play out in the background as the characters go about their business. And ‘Drama Queen’ plays alongwith the closing credits.
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MANK
February 9, 2014
@Brangan:we may be seeing the evolution of a major actor-star,one who can be others even while she’s being herself
Isn’t it rather early days for predictions like that.sure she has been terrific in the 3 roles that i have seen her in including this one.( i Cant imagine any other actress who can pull of this.). but they all seem more or less belonging to her comfort zone.Would like to see her tackle a truly intense emotional character .Otherwise she is in danger of being typecast as this chirpy, bubbly slightly eccentric character.Remember what happened to juhi chawla. but she definitely seems to be most spontaneous actress around.I dont know why, but she remind me a lot of the earlier jaya bhaduri
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Ceaser
February 9, 2014
All the KEYs:LOL
Vow , i luv this new ‘Key’ thing that Brangan has invented. Seems straight out of a magician’s code book.Even though its just another vehicle for Dr. B. to show off his comedic chops in the garb of helpful translations , but hey every drop of laughter is welcome in this miserable world. Anyway Is there any other blog writer in the w.w. blogosphere whose hubris we love more than his humility(No negativity saar,spoken with every ounce of positivity at my disposal). More power to u Good Dr. Laughter is the best medicine. 🙂
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Nidhi
February 10, 2014
Very impressed with Parineeti but I’m afraid she’s already been slapped with the ‘bubbly’ tag and furthermore, it’s being used as an excuse to ignore the nuances in her performances.
Count me as a fan. Hope she keeps picking good roles and starts doing better films. 😀
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Kaushik Bhattacharya
February 10, 2014
The Anu Malik bit at the end is pure genius! 🙂
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Santosh Kumar T K
February 10, 2014
if every tom, fadnavis, dick, somen, harris had his way, parineeti = the desi jennifer lawrence.
irreverent, snarky, snide’y, spunky and what have you? benedict cumberbatch, jennifer lawrence, amit trivedi, anurag kashyap (?), a bunch of indian stand-up comedians, parineeti – all right now slightly on the fringe – are “dear” until the day the masses lap them up in a big way!
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brangan
February 11, 2014
venkatesh: The KEY is because I shot my big fat mouth off in that piece about the need for subtitles, and someone asked me if I shouldn’t be doing something similar… As you see, no good deed goes unpunished 🙂
Abhirup: I was talking about the song sequences in general — they were very generic. “Music videos” aren’t always about choreography. A lot of MTV videos are simply mood-montages over which the song plays.
MANK: Isn’t it rather early days for predictions like that
Of course it is. Hence the word “may” in the last line, which indicates possibility and not certainty. Doesn’t anybody read slowly these days? 🙂
Nidhi: Who’s ignoring the nuances in the performances? I’m seeing a lot of love for her in the press…
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MANK
February 11, 2014
@Brangan:Doesn’t anybody read slowly these days?
Ha Ha , sorry about that, You are usually very tetchy dolling out praise to actors (unless its ABjr. 🙂 ), so i presumed that even with ‘may’ in the sentence , you are getting all ready to induct Parineeti into that great pantheon 🙂 Okay msg understood.
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Abhirup
February 11, 2014
Thanks for the clarification, Mr. Rangan. I rarely watch MTV, so my knowledge about its contents is meagre. What’s commonly described as “music videos” have both singing and dancing. That is why I asked.
And yeah, I completely agree that the songs here are no big deal. Though ‘Zehnaseeb’ is pleasant enough.
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abvblogger
February 12, 2014
Bharat, is the KEY permanent? I love it! ” Anu Malik = You really don’t want to go there.” This is the first time I’ve seen such an informal blog humour touch to your pieces…. they’re usually so.. how do I put it? Have you heard the phrase soldier’s soldier? Let me use the same kind of phrase incorrectly: your writing is prose’s prose.
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Nidhi
February 12, 2014
Oh, there’s already a counter-view gathering storm, about how she’s a one-trick pony mainly in social media platforms. She’s a critical darling alright but not so much with the audience. I see the words ‘loud’ and ‘repetitive’ being used very often.
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Nidhi
February 12, 2014
Also, BR, according to you who are the other actors of the younger generation that have a potential to be major ‘actor-stars’ as you call them? I loved your line listing Parineeti’s strengths. Could you do the same for these other actors?
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Anu
February 13, 2014
Looks like everyone has fallen for “Anu Malik = You really don’t want to go there.” Nice one that.
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Arsaib
February 14, 2014
I wonder if Karan Johar coming on board, apparently fairly late, is what caused the film to be more “Bollywoody” than it would have been otherwise. In any case, the narrative motif of the family’s black sheep forced to cause more harm reminded me a little of Kashyap’s 2012 production, Luv Shuv Tey Chicken Khurana.
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Musings
February 14, 2014
The innate Parineeti-ness…and this performance is another sign that we may be seeing the evolution of a major actor-star, one who can be others even while she’s being herself.
So true! I can’t think of another person who could pull off that role with such elan. It helps too that she’s got that comic sense (poker face in a funny situation). She’s such a good actress and I can only hope that she chooses her films like Vidya Balan does and not worry about her looks or image.
Sidharth as Nikhil was a pleasant surprise. These days I have low expectations from new comers as it gives me the above feeling when I do find that they can act. Perhaps the role suited him, perhaps it’s early days yet. But I must say he’s easy on the eye 🙂
I think being a romcom it surely was an light watch and at places where Meetha’s love for her father comes out, it got a bit emotional for me. This is definitely a better attempt than some of the rom-coms that have been released last year. I think these kind of movies deserve some slack, if the music and the ‘good taste’ bits are the most we can find fault in them, unlike what one could list for the blockbuster – Ram Leela.
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Sharan (@sharanidli)
February 15, 2014
Really enjoyed this review. Just one thing:
” … this may also be a reflection of Malhotra’s inability to do much more than project a charming geniality on screen”
I really enjoyed his performance and came away thinking he was an absolute natural — especially at something like this. I am very interested to know what his next role will be like.
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oneWithTheH
February 15, 2014
Just came back from this one. What a terrible disappointment after a promising first half.
IMO the oddity in Parineeti’s character doesn’t require this story(not the other way around) — which is your quintessential Karan Johar certified, bankable torture — at all. I find her queer trait just a gimmick to lure audience with trailers promising something “different”. And this trait completely disappears in the second half — how very convenient because she needs to be able to express love for the guy and reunite with her family! This was no different than Maatraan with the conjoined twin thing or the Vikram movie with echolocation and all that. Those movies didn’t require those “different” things at all. And neither did this one.
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rahul
February 17, 2014
Re: “Zahenaseeb” – I want to rant about this other linguistic trend that is beginning to irritate me. (the first is writing dialogs in English and translating it to Hindi – lets call them Akhtarisms in honor of Farhan Akhtar). There seems to be this practice to choose a hi-fi sounding Urdu word and string together some other Urdu sounding words around it , and just hoping people will assume its good poetry, or at least they will make some sense.
Zehnaseeb Zahenaseeb
Tujhey chahun betahaashaa Zahenaseeb..
Merey kareeb, merey habeeb
Tujhey chahun betahaashaa Zahenaseeb..
How does Zahenaseeb(non sequitur) fit here? Or does it? Maybe someone can enlighten me.
Another exhibit is from the songs from Aashiqui 2.
Ye meri zamanat hai
Tu meri amaanat hai
These are generic Urdu words doing nothing to contribute to the over all mood of the song – just non sequiturs put there to complete the meter and hoping they pass off unnoticed.
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MovieMan
February 21, 2014
Am I , the only 1 here who did not like the movie ?… 🙂 could not find scenes funny as a matter no body in theater laughed at all ( except may be on CID/Anu Malik guy..) .. it was a very loose writing , and below average effort .. disappointing…
I think this is what happens in collaborations .. its like ETDayan of VBharadwaj .. charm of VBharadwaj being in only few scenes.. 😦
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Rishabh Sharma
March 19, 2014
Looks like everyone has fallen for “Anu Malik = You really don’t want to go there.” Nice one that.
Hasee Toh Phasee 🙂
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JPhilip
March 23, 2014
A rather belated comment(one sees legal prints very late on this continent).
I noted two expressions on SM’s face through the movie ,constipated and really constipated . A recent interview of Vinil Mathew in Filmfare declares how Parineeti was his first choice as lead and SM was taken on the producer -one Mr Karan Johar-‘s insistence.Ye Gods!
Also,cant help agreeing with Rahul’s comment above .’Raabta’ -pleasant though it is-comes to mind as well.
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Mohammed Arif Attar
August 24, 2015
I really have given up on movies for the past 3 years. But I happened to watch the song “Ishq Bulava”, the ‘music video’ on one of the channels, and I knew straight away this movie, or at least the song, was conceptualised by someone who loves Bombay. A lot. And knows it too.
Just finished watching the movie, and I really loved the humour in this one. It eventually Bollywoodised itself towards the end as you have noted and sort of lost its charm.
But the point I want to make is this is a movie based in Bombay. At a time when most of the movies, at least the good ones, seem to be all Delhi based (the last film I liked was Band bajaa..) this was refreshing.
A few brilliant touches in that “ishq bulava” ‘music video’. All the three transport systems used in Bombay feature in the song. A fourth, the autorickshaw, is featured in the sequence just before the song.
The point in the song where they are having their morning tea by the roadside, you can see a Starbucks in the distance. I think the director was trying to make a point there.
And the ‘music video’ ends with the thing about newspapers and a pair of milk packets lying on the floor outside the door early morning. Only a Bombaywallah knows that.
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