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10/31/2014 12:46:13 AM

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Dosti

Review:

Thus you think that the films about the male friendships are out-of-date? Film Wallows of old man-world of Suneel Darshan in the truisms and the ties which we had left with films about the “true” friendship in the Sixties like “Sangam” and “Dosti”.

The values of old man-world extend from the principal characters to the peripherals. Kiran KUMAR and Lilette Dubey playing the rich socialites could be Pran and Sonia Sahni in the “police officer” of Raj Kapoor 30 years ago. They neglect their only sons and choose to deal of the meetings and the parts of kitty.

Wish phase ardently the middle-class class!

But it is another history. In “Dosti” we meet two friends who are ready to die one for the other. The rich person, police Deol, spends his time making outside with the various floozies in pensions of girls (shows outside for the vulgar traps) while the poor, Akshay KUMAR, subsistence saving it (for Akshay the actor shows outside).

Akshay and police officer with their bravado of Punjabi seem rather comfortable to face the businesses of buddy-buddy. It is a miracle which they can pass by - dost-you-the-more surveys with such a gusto.

Akshay with the higher part. It is to pass here rather responsible by the light and cumbersome moments with melodramatic confidence.

The ladies, immaculéement equipped and obtaining an equal share with the soft songs of Nadeem Shravan, have to make little. Kareena succeeds in descending its teeth in two essential dramatic interludes where it must treat the unfaithfulness pretence of Akshay KUMAR.

It all one is agitated again lend the ear to the melodramatic machinations of the cinema of the Sixties. The characters never go up above the material been used outside for them. What they is to float freely above surface punt but attracting that Darshan provides them.

While of first half of the year is called like mixes seditious mirthful scenes depicting the male court of friendship and male-female, the models of edition in the second-half take a sudden variation to suggest a narrow affinity with the “friends” periodic American popular.

The same model storytelling was obvious in “Na Ho of Kal Ho” of Nikhil Advani. In fact part of the report/ratio of Akshay KUMAR with his in love Kareena, the police officer of the best friend, the family practitioner Juhi Chawla and death (in the order) make echo directly “Na Ho of Kal Ho”.

But the noise is not completely lucid. Temptation to derive the pleasure formulistic from the drama of the male connection is often replaced by the pockets of pedestrianism which piaulent out of the generally smooth outside of film.

Most of the male maudlinism of sentimentality and male, thus are adapted in Raj Kapoor and the impassioned friendship of Rajendra KUMAR in “Sangam”, seems hopelessly out of the place in today the age of sexual cynicism.

It is like these jokes homophobic of “Kanta Behn” in “Na Ho of Kal Ho” (to remember how much Shah Rukh Khan and Saif Ali Khan appreciated the horror of Sulabha Arya of good to their merry jokes?) had suddenly been shorn of all the irony.

At the majority of “Dosti” takes place an ode at the era of not-cynicism when to be gay supposed to be happy. Not more.




 

 
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