Golmaal Returns is probably one of the most awaited films this year. And simply for one reason that Golmaal was a huge hit. Frankly I never liked the first part. There were too many gags, the comic timing was off and the dialogues fell flat at many places. So it was with a certain amount of reserve that I entered the auditorium for Golmaal Returns. Also two of my favourite actors Paresh Rawal and Sharman Joshi were missing from the sequel… It seemed like the director Rohit Shetty was simply trying to cash in on the success of his debut venture.

Twenty minutes into the film and I found myself laughing out loud. Golmmal Returns like its predecessor revolves around four men whose lives are inextricably intertwined. Gopal (Ajay Devgan) is married to Ekta (Kareena Kapoor ) who is a K-soap addict. She's convinced her husband is cheating on her. Tusshar Kapoor plays Ekta's dumb brother who's unable to speak. He survives by speaking gibberish and really funny gestures. At one point Gopal spends the night outside the house. But due to Ekta's suspicious temprament he can't tell her the truth. Unfortunately for him his worst enemy gets murdered that night. And as Gopal struggles to establish his innocence, the noose around his neck just seems to get tighter and tighter.

It's more than two years since Golmaal released and the director has taken his own time to emerge with the sequel. And a lot of effort has gone into the script. Essentially the film remains a comic caper but the timing is perfect. Every sequence is well scripted and tightly edited. So despite the fact that the 30 minutes of the film the director is just establishing the characters and their various personalities the film doesn't drag. Actually you keep waiting to see what is likely to happen next.

Tusshar deserves the credit

If Tusshar was good in Golmaal he is excellent in this film. He's back with his favourite dialogue 'Mayar Oot'. For those who haven't seen the first part they can figure out what it stands for. And thankfully the director has used it with a great deal of restraint so every time he utters this curse you find yourself laughing all over again.


But it's not just his stuttering dialogues. Since he can't speak he uses his whole body to convey emotions. And the expression in his eyes changes from minute to minute. In all probability Tusshar Kapoor will walk away with most of the awards for best performance in a comic role.

Kareena Kapoor looks very good in the film. And she succeeds in looking thin without looking haggard. And she manages to ooze sex appeal irrespective of what she is wearing. But her role itself is very limited so there's nothing much she can do in this film.

Shreyas Talpade is the new entrant instead of Sharman Joshi. And luckily his chemistry with the earlier trio Arshad Warsi, Ajay Devgan and Tusshar Kapoor clicks perfectly. They are all simply amazing.

Ajay Devgan is a very effective counterpart to Tusshar's effervescence and ebullience. And Arshad Warsi as the gleeful inspector is a sheer delight. Most of the kids in the audience start giggling the minute Arshad appears on screen.

Four men dressed in drag

There's one sequence where all four men appear dressed up as women. And unfortunately more often than not these sequences in Bollywood tend to be executed in a cheap and lewd fashion. There's a very fine dividing line between crass and vulgar. And the director does not cross this line. In fact seeing Arshad Warsi dressed up as a famous lead actress (I refuse to tell you the name) had me in splits of laughter.

The director has taken potshots at a few well-known directors such as Sanjay Bhansali and Aditya Chopra. There are a few jokes on films also particularly Saawariya, Tashan and Black. In fact Munni's character is a take-off on Rani Mukerji's role in Saawariya. But it's been done in good taste. Spoofs needn't always be loud in your face.

Long live the tattoos

Saif Ali Khan may or may not have his girlfriend's name tattooed on his arm. But even at this minute there are probably millions of girls carving their husbands/boyfriends would do the same. And the director has used this brilliantly in the opening sequence.

Why this film works!

A tight script and good comic timing help to maintain the pace. The film drags briefly before the interval but then it picks up again. And in the earlier films the characters were simple unsophisticated college dropouts. Here they are men of the world. They look good and they dress flashily. Which goes perfectly well with the storyline. Thankfully there has been no attempt to overload the film with songs even though the music is by pritam. In all probability the one dialogue 'Shaque what the f***! will be used for years after the film.

What doesn't work

The film has been shot almost entirely in India. And it's good that simple fun films do not need grand locations. But a little more thought could have been given to the locations. And a lot of sequences, which have been shot on sets, would work much better if they were shot on location. And the women are completely wasted. Especially Amrita Arora!
But the film makes you laugh…

Verdict: If you are in the mood to watch a harebrained comic caper this film is perfect Diwali viewing.

Rating: 3.5/5

Two years ago, Rohit Shetty came up with a breezy entertainer GOLMAAL, which, most people agree, is the capable director's finest work to date. The comic scenes hit the right notes and buttons. Perhaps, that must've prompted its producers [Shree Ashtavinayak] and Rohit to continue with the GOLMAAL series.

But GOLMAAL RETURNS treats the viewer like a nitwit, with zero brains. No-brainer laughathons have worked in the past and people have catapulted these films to 'must watch again and again' category. But GOLMAAL RETURNS is simply unbearable!

35 years ago, the Kiran Kumar - Radha Saluja comedy AAJ KI TAZAA KHABAR [1973] is the inspiration for GOLMAAL RETURNS. No issues with that, it's an interesting concept. But screenplay writer Yunus Sajawal makes a mincemeat of the material, so much so that your head starts aching after a point and you want to tear your hair in disgust.

Seriously, what was the writer thinking when he came up with a pathetic screenplay? And how did a talented director like Rohit Shetty agree to ride on it? And how could an accomplished actor like Ajay Devgan green signal this enterprise? Questions, questions, questions...

GOLMAAL RETURNS was never meant to be a thinking man's film, but the attitude is, no-brainer comedies have worked and this one will work too. To give the credit where it's due, a few jokes/sequences involving Tusshar and Shreyas do bring a smile on your face, but in the absence of a tight screenplay, the film falls like a pack of cards.

Final word? Golmaal hai bhai script golmaal hai!

Gopal [Ajay Devgan], who lives with his wife Ekta [Kareena Kapoor], sister Esha [Amrita Arora] and brother-in-law Lucky [Tusshar Kapoor], gets stuck in a yacht after saving an attractive woman Meera [Celina Jaitly] from some goons. Both end up spending the night on the yacht and when he comes home the next day, his painfully suspicious wife, who is also a hardcore fan of the saas-bahu serials, smell fish.

Gopal knows it's going to be hard to quell her suspicion, so he concocts a cock-and-bull story about having stayed the night with a fictitious friend called Anthony Gonsalves. Ekta refuses to buy his yarn and writes to Anthony [on a fictitious address given to her by Gopal], asking him to visit her.

Gopal convinces his junior at work, Laxman [Shreyas Talpade], to pretend to be Anthony. Everything goes according to plan till the real Anthony turns up.

If that isn't complication enough for Gopal, a dead body is discovered at the location where he had saved Meera. The Investigating Officer, Madhav [Arshad Warsi], who is Esha's boyfriend and also who cannot stand the sight of Gopal, learns that the latter had been missing from home that eventful night and begins checking on him.

A sequel carries the baggage of humungous expectations. And you definitely expect GOLMAAL RETURNS to be a step forward. The makers had thundered, "GOLMAAL RETURNS is bigger, it's better" and that raises the bar. But the film is such a put off.

Writer Yunus Sajawal takes an interesting premise, but instead of upgrading it, only downgrades it with lacklustre situations. The writing is so weak, so lifeless that after a point you sit motionless, looking at the goings-on mechanically, instead of being a participant.

A few sequences do entertain you, but they're few and far between. Not enough to camouflage the defects. In view of the fact that the writing is so weak, there's not much that director Rohit Shetty can do to save the ship from sinking. However, the dialogues are howlarious. Music is not as inspiring. 'Tha Karke' is the best track, while 'Tu Saala' [well promoted] isn't there in the film and 'Meow' comes during the end credits. And you're exasperated by then!

GOLMAAL RETURNS belongs to Tusshar Kapoor and Shreyas Talpade. Tusshar is terrific yet again, the real scene stealer, while Shreyas displays his comic side very well. Both, in fact, provide respite to the viewer. Ajay Devgan is likable. Kareena does the suspicious wife act well. Celina stays on your mind even after the show is over.

Arshad Warsi is relegated to the backseat. Amrita Arora is strictly okay. Anjana Sukhani gets no scope. Vrajesh Hirjee is alright. Sharat Saxena, Rakhi Vijan, Sanjay Mishra, Murli Sharma, Mukesh Tiwari and Ashwini Kalsekar fill in the blanks.

On the whole, there's tremendous curiosity to watch GOLMAAL RETURNS and the terrific promotion has only enhanced the excitement. But the film is a major letdown in terms of content. Barring a few jokes and gags, this GOLMAAL pales when compared to its first part. At the box-office, expect a terrific start for the film, but GOLMAAL RETURNS lacks the power to stand on its feet after the initial euphoria settles down.

First things first: Priyanka Chopra must thank Madhur Bhandarkar for a role that any actress would lay down her life for. As Meghna Mathur in Fashion, Priyanka may finally achieve the critical acclaim and commercial success she's dreamt of all along.

As for the film itself, Fashion is a story of a small-town girl, who aspires to be a supermodel. Propped by some resourceful and forever generous friends, she finds herself in Mumbai and soon begins to climb the vertiginous heights of success.

But like all good things in life, the achievements come with a hefty tag. And the meteoric rise of Meghna is soon offset by a near-fatal fall that leaves her scarred and bruised. Meghna's rise, fall and her eventual rise to the top again is what Fashion is all about.

Bhandarkar has been doing considerable research for his film. He has spared no efforts in getting some of the most experienced hands on board for the right feel. And in frame after frame the detailing, styling and the choice of the ensemble cast gives Fashion the realistic feel that is so important for a film of this genre.

The fashion shows are lavishly mounted and impeccably put together. The backstage frenzy is well captured, as is every gleam in the kohled eyes, the glitter of bronzed cleavages, tinkling of champagne flutes and even the clamour for the first row seats at fashion shows.

The ensemble cast includes a smattering of industry experts: there is veteran choreographer Achla Sachdev, designers Wendell Rodricks, Narendra Kumar Ahmed, Shane and Falguni Peacock and a host of other real-life professionals, including a bevy of the top models: Noyonika Chatterjee, Alecia Raut and Mugdha Godse, who plays Priyanka's friend Janet.

Of course, like in all Madhur Bhandarkar films there are several references to real life incidents in Fashion too.

Those in the know will smile at how Bhandarkar includes everything: from socialite Queenie Dhody's now-famous marital dispute to the great designer spat between Aki Narula and Suneet Varma.

Kangana's character Shonali bears a striking resemblance to the troubled model Geetanjali Nagpal, who was found begging on the city streets, after a professional and personal crisis. And yes, there is also the scene where Shonali has a wardrobe malfunction, just as Carol Gracias had during Fashion Week some time back.

Janet's liaison with a rich gay designer is also something that isn't too hard to find in this particular world. And indeed Priyanka Chopra's character too seems to be based on real life model Shivani Kapur – once the face of a cosmetic giant, now spending most of her time away from the glare of the arc lights.

'Don't think. You are a model'

Bhandarkar's Fashion is more about the models, the 'clothes hangers' as they are known. Often dismissed as bimbettes they earn the odd buck by appearing for page three dos and if they are good enough, get to walk the ramp for top designers.

The film captures the pathos and irony of these pretty girls, who are often talked down by designers with lines like "You are model. You are not supposed to think." It is a world where professional contracts have no-marriage, no pregnancy clauses, while brand ambassadors are often the victims of a rich man's whims.

Male models have the toughest time here – refusing to sleep with a gay designer would mean absolutely no chance to be seen anywhere near the ramp.

There is enough coke-snorting, cigarette smoking and drinking in the film to warrant an A-certification. And that's where maybe Madhur got a little too self-obsessed while trying to explore the dark side of this glitzy world. But what the heck… it works!

While the references could have been many, Bhandarkar does not get carried with 'reality' and thankfully does not come across as didactic. The fashion shows are pictured and styled very well (thanks to style consultant Rita Dhody) while certain scenes stand out for their masterful handling.

The interaction between Priyanka and Kangana in the ladies restroom, the first time Priyanka lights a cigarette and later when she realises she has slept with a complete stranger in a cheesy hotel, are just some examples.

A special mention for music directors Salim and Suleiman, whose haunting signature tune seems to have captured the essence of the film bang on.

For a change unlike most Bollywood films, Fashion belongs to the ladies. For nearly three hours they hold you in thrall. And the beauty is, while the film is about the sinfully glitzy world of fashion, none of the actresses have had to resort to titillation to hold your attention.

Kangana Ranaut has a relatively small role to play. But she's a key to the way Priyanka's character evolves in the second half and in that sense becomes significant. She plays a super successful model who has a very tragic personal life – an abusive boyfriend and colleagues who don't hesitate to backstab her. Kangana does a convincing job. But seeing her as the doped-out and self-destructive psychotic woman for the nth time puts you off. Probably it's time Kangana takes a break from playing these roles.

Mugdha Godse though is a revelation. She seems confident for a newcomer and has a great body too. Kitu Gidwani is chillingly real as the ruthless head of a modelling agency.

As for the men in Fashion, let's just say they're either gay or wimps. Now that's tad too much to handle, especially the gay bit. Arjan Bajwa is just about okay, while Arbaaz Khan as the owner of one the largest fashion houses also does a fairly interesting job. He plays the man who creates the phenomena of supermodel Meghna Mathur and then ruins her life.

And finally Priyanka Chopra – right from the very first scenes as the gauche small-town girl dressed in blingy clothes, inept at air kissing to the super confident and later super arrogant bi**h – is absolutely brilliant.

She uses her eyes eloquently – her small paunch notwithstanding – struts her stuff in designer heels quite well. Her transformation from the simple, awkward girl petrified of shooting for a lingerie ad to the drop dead gorgeous show stopper, gives you the goose pimples. Priyanka's portrayal of a woman who's headed for a fall because she cannot see the thin line between arrogance and attitude draws you to her. It helps also that the character she plays has been very well etched out. Meghna Mathur could well be your model-next-door whose inability to handle success, relationships and her life, is something many of us can relate to in some way or the other.

Her first sip of wine, her first flirtation or first seduction, her first lovemaking, her first puff of cigarette and her very first betrayal are all personal milestones that become yours too. And they all add up to the grand finale, when she steps out to the face the world again, rising from the ashes. Surely, the climax is riveting though it comes a little too late. Yet chances are you will find yourself giving Priyanka Chopra a standing ovation.

Having gushed enough about the film, here's the list of things that don't work: Madhur's obsession with poking fun at high society continues with digs at socialites, trophy wives and gay designers. A little maturity and sensitivity may have helped here.

The film is more about models than about fashion, really. It is not about the designers, the clothes or the creative process. In Madhur's world the designers are either gay or exploitative or both and of course quite like in Page Three almost all socialites are bad, sad and bitchy. What's more, Priyanka's friends are always 'too good', generous to a fault, making them a little unreal.

However at the end of it all Bhandarkar shows you how to make an absolutely kickass film without a single male lead. And that in itself calls for a celebration.

Verdict: Shut out the endless chatter about six-packs and eight-packs and coordinated stunts by 40-something actors. Fashion is an ode to women, beautiful women who can deliver a killer performance.

Rating: 3.5/5