Release Date (India): 4th March 2011
Director: Yogesh Mittal
Producer: Om Prakash Mittal
Cast: Anupam Kher, Tena Desae, Pavan Malhotra, Rushad Rana
In all honesty, there has been no attempt to generate awareness for this film. I’m not sure even I would have known about it. Watching a film with a blank slate may be a refreshing change in this day and age of aggressive marketing but it’s no bonus. If anything, the audience is clueless about what to expect.
Yeh Faasley tries to explore a sweet and sour relationship shared by Arunima (Tena Desae) and her father, Dev (Anupam Kher). Arunima’s best friend’s marriage is conveniently written into the first 20 minutes to show Dev’s rage when attempts are made to hurt Arunima. The story really begins at this point after the marriage. A disturbed and curious Arunima sets off on a quest to uncover her dad’s past, her dead mom’s identity and the so-called truth. Instead, she gets caught in a web of lies, hidden facts and courtroom trials. I don’t have the heart to bore you with a rendition of the plot. I can leave you to consider the information that there are 4 climaxes, 4 points of view of one single incident and a not-at-all-shocking and lame revelation at the end.
Quite unfortunately, even when literally translated, Yeh Faasley creates a huge gap, in the director’s vision and audience’s viewing. The film is so dry you may want to run to the rest room just for a break after restlessly shifting in your seat. The actors are not to blame here. They put in quite an effort to play their parts with subtlety. Anupam Kher looms too large in some scenes but is fine for the most part. Tena Desae is not bad for her first film. She could have done with better styling and make-up though. Rushad Rana (of Hip Hip Hurray fame) may not get his big break in films with this one. It is very doubtful an audience will show up.
The premise is age-old. The script is extremely weak. The genre cannot be defined. The only saving graces are the unintentional hilarity. They arrive after the interval but at least make you laugh. First up, Dev’s lawyer is Kiran Kumar (remember him?) It’s almost like he was revived from the dead movies of the ‘80s. I still can’t get over it. Then you hear courtroom lines like, ‘Witness ko daraaye jaane ki koshish ho rahi hai’ directed at Kiran Kumar. At this point, there is a long collective laughter from the audience. Numerology is not only cited as a reason for Dev Dua changing his name but also accepted in a court of law. Progressive? Last but not the least, the judge remarks ‘a henyus (she meant heinous) crime has been committed’. I wish the same could be said to the director.
By Dhruvi Shah for MissMalini