Review By: Komal Nahta
Balaji Telefilms Ltd. and Alt Enter tainment's Kyaa Super Kool Hain Hum (A) is an adult comedy with a lot of sex jokes and adult humour. Adi (Tusshar) and Sid (Ritesh Deshmukh) are friends. Adi is a struggling actor and appears in advertisements of cheap products for a living as he waits for his big break in movies. Sid is a disc jockey but is waiting to hit big time. Adi meets Simran (Neha Sharma) and is convinced, she is lucky for him. In no time, he proposes to her but Sim ran tells him, she is a lesbian. She, nevertheless, fails to return the dia mond ring he has given her while pro posing. Adi had stolen the dia mond from the chain worn by Sid's dog, Sakru. On his part, Sid has not had a very pleasant experience with Anu (Sarah Jane Dias), having been res ponsible for her wardrobe mal function at a fashion show. Anu has extracted her revenge from Sid.
As luck would have it, Simran and Anu are best friends but this is un known to Adi and Sid. Simran and Anu go to Goa soon after Simran turns down Adi's marriage proposal. Adi and Sid follow them to Goa to get the diamond back and also because Adi is sure, Simran had lied to him about her lesbianism. Sid is pleasantly sur prised to meet Anu there and he soon befriends her. Anu's father, Francis Marlow (Anupam Kher), who lives in Goa, has gone a little crazy in the head after his mother's demise. Prompted by a fake Godman (Chunkey Pan day), he believes that his dead mother has been reborn as a dog which he refuses to leave. To save his skin, the Godman carries on the reincarnation story further by telling Marlow that Sid's dog, Sakru, is actually his father re born. Marlow has Sid's dog kid nap ped because he wants his mother and father to be together all the time. When confronted, he agrees to make up for it by letting Sid be the DJ at his New Year's party.
What happens thereafter? Does Adi get Simran's hand in marriage? Do Sid and Anu come together? What hap pens to Marlow's idiosyncracies?
Sachin Yardi's drama is replete with double-meaning dialogues and even explicit jokes with sexual undertones. However, in his quest to make people laugh, it seems, he has sacrificed a cohesive story and instead concentrated on funny anecdotes. Therefore, rather than smooth-flowing comedy in a proper story, what Yardi has on offer are very humorous as well as not-so-humorous anecdotes pieced together in a story that is one of convenience. In that sense, the comedy is very cal culated, sometimes taking away the ele ment of spontaneity from it. This is not to say that the comedy does not make the audience laugh. Of course, it does! But there are times when the humour looks so forced that the viewer doesn't feel tickled enough to laugh. A very pertinent example of this kind of for ced humour is when Marlow, while talking to Sid, actually turns his back on him and pleads with him with fold ed hands (in a completely different direction), just so that the double-meaning humour that emanates from his name – Maar lo – is created. Why would someone turn away from the person whom he is talking to and join his hands in a way that he can't see them? Likewise, the obscene dialog ues when Marlow is referring to the relationship his father shared with the male ser vant in the house appear contrived. There are also some double entendres which many among the audience may not understand. An instance in point is the reference to the girl who calls her self BJ (the double-meaning in this case being 'blow job'). All in all, while some hum orous scenes bring the house down with laughter, others don't have the desired impact, partly because of the absence of a proper story and smooth-flowing comedy in it, partly because of the humour being forced, and partly because the humour is couched so as not to hurt people's sensibilities. The film's pace drops at several places. Also, the tension sought to be created in the drama is not convin cing. The film could have done with- out tension of any sort but half-hearted tension definitely is not as sensible as not having tension in the comedy would've been. Dialogues, penned by Sachin Yardi, are excellent at places and alright at others.
Tusshar does a fantastic job as Adi. He plays the character without any in hibitions, which adds to his performance. He has also danced very gracefully. Ritesh Deshmukh is superb in the comic role. His sense of timing deser ves mention. Neha Sharma looks pretty and acts ably. Sarah Jane Dias looks sexy and hot and she also per forms well. Anupam Kher is effective and although his track drags a bit, his acting is good. Chunkey Panday contributes well to the comedy. Kavin Dave is natural to the core. Howard Rosemeyer evokes laughter with his natural acting. Razak Khan caters to the front-benchers. However, his comedy may be considered very crude by a section of the audience. Rohit Shetty makes his presence felt in a special appearance but he doesn't have very funny scenes. Mushtaq Shiekh leaves a mark in a special appearance.
Sachin Yardi's direction is good but could've been better. The effort to create humour shows, which is not the rightest thing to happen in a comedy film. Music (Meet Bros. Anjjan and Sachin-Jigar) is a plus point. The 'Dil garden garden', 'Shirt da button' and 'Hum aayein hain U.P. Bihar lootne' (inspired by the Shankar-Ehsaan-Loy song, 'Main aayi hoon U.P.Bihar lootne') are enjoyable songs and have also been effectively choreographed (by Longin es Fernandes, Raju Khan, Rekha-Chinni Prakash and Bosco-Caesar). Lyrics (by Kumaar and Mayur Puri) are okay and go well with the mood of the film. Sanjoy Chow dhury's background music is quite eff ective. Ravi Walia's cinematography is decent. Madhu Sarkar Kuriakose's sets are alright. Editing is nice.
On the whole, Kyaa Super Kool Hain Hum will prove to be an above-average fare for the distributors in spite of the fancy prices they've paid (Rs. 21 crore-plus for all-India; Rs. 7 crore-plus for Bombay circuit). The producers, of course, have made a hefty profit of around Rs. 15 crore on an investment of around the same amount.
'Review By Komal Nahta'