Ayushmann Khurrana, Kunaal Roy Kapur, Pooja Salvi, Gaelyn Mendonca and others
April 12, 2013 07:28:29 PM IST By Glamsham Editorial
Rohan Sippy tries too many things with his latest - NAUTANKI SAALA. His idea of interspersing characters from Ramayana into a real-life situation is creative indeed but what really messes it up for him is the length and the too many layers of comedy, which sometimes goes over the top. In short, he does not know when to end the film. It would have been this 'timing' that could have made all the difference between a brilliant and a good film.
RP aka Ram Parmar (Ayushman Khurana) is the director of a play in which he also plays the role of Raavana. Don't miss the play on names here (between his name and the character he plays). One day, while returning from work he chances upon Mandar Lele (Kunaal Roy Kapur) in the act of committing suicide. He rushes out to save him. It then becomes his responsibility to rehabilitate him after he learns of his failed attempt at love.
He tries to patch him up with his girlfriend Nandini Patel (Pooja Salvi). In the bargain, he falls in love with her while his own relationship with Chitra (Gaelyn Mendonca) falls apart. All this is told part in the play on stage, part outside the play.
What does not work: After RP has saved Mandar; he takes him to Pune to his house. But why does he get him back? That is where the script loses its sting. There is no real reason for anyone as busy as RP to try and play the Good Samaritan beyond a certain level. You have helped him; now move on. If Mandar was to be a bigger part of the movie, as he is, Sippy should have smartened up the plot to make it believable for the audience to accept that yes, RP is justified in helping Mandar out.
On the contrary, you want to slap this RP guy. He not only gets him back and upsets his household, but also buys flowers worth Rs 25,000 and settles a hospital bill amounting to Rs 40,000! Bus kya, Sippy!!!
What works: The play on stage is a smart move; the auditions, the bit parts that immediately jumps onto to real life, the costumes, the comic timing and above all the character who plays the producer of the play.
In the end, true to his name, RP does have honest intentions of getting Mandar and Nandini together, but like his character, Ravaana, he ends up with Nandini for himself.
Ayushmann Khurrana does well yet again after VICKY DONOR. This guy is definitely not a one-film-wonder. Kapur as the goofy lad is good in patches. Yes, he does have that spark; what he needs is someone to ignite it for him.
Both the female debutants, Gaelyn and Pooja are spot-on. Even though Gaelyn has a smaller role as opposed to Pooja she does make an impact. For the 'vulnerable' role she is supposed to essay, Pooja is perfect.
The old classic from Tezaab (remixed) is a good 'hear' too and is picturised well.
Ram rescues Sita and hands her over to her real love played by Ravaana who in fact has the heart of Ram. Confusing? Isn't that what Nautanki means?