Heroines driving the box-office is a welcome twist in the Bollywood film trade tale, considering the industry is constantly looking for fresh ways to expand the market. In a film trade that has largely been driven by herocentric films over the years, this has hardly happened before.Īdd to that the fact that barring Shah Rukh Khan's Raees and the Akshay Kumar-starrer Jolly LLB 2, the first four months of 2017 have largely banked on heroine-oriented releases. Noor starring Sonakshi Sinha, and Matr, which marks the comeback of Raveena Tandon, will occupy exhibition space in the domestic market, to explore two entirely different facets of modern Indian womanhood.Ĭonsidering last week's big release was the Vidya Balan-toplined Begum Jaan, this means, with the release of Noor and Matr, the Bollywood box-office over the next few days will entirely be driven by heroines. Two widely discussed heroine-centric films have opened over the weekend, setting up a fascinating clash of girl power at the multiplexes. This week sees the sort of box office drama that rarely comes Bollywood's way. That it is not always successful in sustaining the funnies through it’s runtime is the fact that stops it from being a truly memorable one.Sonakshi plays a journalist in this comic thriller about an average young girl’s experiences in love, and life in general That it does not rely on puerile humor or senseless visual gags is one of the good things about the film. Still, there isn’t anything terribly wrong with the film.
This is a balance that Rajkumar Hirani has successfully mastered, but Happy Bhag Jayegi is not in that genre.
It breaks the mood and the pace that was set so far, and the film struggles to alternate between the serious and the funny. While okay on it’s own, it does not fit in as well with the rest of the film. The second half has lengthy sequences where the film goes introspective, delving into Abhay Deol’s (largely unsaid and one-sided) relationships with Happy, and with his childhood sweetheart. Shergill’s comfort with his roguish Amritsari dialect, and Piyush Mishra’s mastery in delivering impeccable Urdu, both are reasons why their performances are enjoyable. Along with Piyush Mishra’s Pakistani cop, his is the only other character written as a comic role, and both do a wonderful job in delivering the laughs. This happy union usually happened with Jimmy Shergil’s character – a bumbling, bombastic local goon/politician bent on marrying Happy. The times it made me laugh was all for the right reasons – terrific timing by actors and great dialogue by the writers. Because comedy is not easy to pull off, Happy Bhaag Jayegi deserves credit for effort.
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