Welcome Back review: Anil Kapoor, John Abraham are fun to watch in this stupid film

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Uday and Majnu are, as someone points out in Welcome Back, a Laurel and Hardy of goondas. They are, to again quote a film, “khule saand“: foolish, stubborn, absurd and agree than card cutouts. But here’s what competence come as a surprise: they and Welcome Back are also really, truly funny.

Welcome Back is a straightforward, unashamed duplicate of Welcome and like a initial film, this one wears a irrationality proudly on a sleeve. Just like in Welcome, Uday (Nana Patekar) again discovers he has another half-sister, Ranjana (Shruti Haasan). Majnu (Anil Kapoor) embraces her since any sister of Uday’s is a sister of his and within minutes, resources direct that Uday and Majnu organize a marriage for Ranjana. The reformed gangsters wish her to marry a good kid from a important family.

Of course, zero is elementary in executive Anees Bazmee’s world. As a result, Dr Ghungroo (Paresh Rawal) returns, brood cocktail out of a woodwork, John Abraham loses his shirt, a mother-daughter twin of criminal artistes aim Uday and Majnu, Shiney Ahuja suffers a indignity of wearing a candy-pink blazer and Rajpal Yadav protects his and a tact by wearing zero though a transistor a la PK. Does any of Welcome Back make sense? Absolutely not. Is any of it picturesque or credible? Only if you’re on a diet of zero though hallucinogens. But who cares as prolonged as Uday, Majnu and Ghungroo are being foolish on screen?

Nana Patekar, Paresh Rawal, Anil Kapoor and John Abraham in Welcome Back. Image Courtesy: FacebookNana Patekar, Paresh Rawal, Anil Kapoor and John Abraham in Welcome Back. Image Courtesy: Facebook

Nana Patekar, Paresh Rawal, Anil Kapoor and John Abraham in Welcome Back. Image Courtesy: Facebook

Most of a film is so predicted — quite if you’ve seen Welcome — that there’s no indicate recounting a tract of Welcome Back. In a nutshell: dons face dons, lovers are kept apart, cons are hatched, and hilarity ensues.

Abraham plays Ajju, a enclose from Mumbai. He is easy on a eye and inoffensive. Abraham doesn’t have many to do other than demeanour good and flex his muscles from time to time so that during a vicious point, Majnu can contend of Ajju, “Lagta hai yeh gym mein hi paida hua tha.” (“It’s like he was innate in a gym.”) Haasan, Dimple and Ankita Shrivastava all have poignant roles in that they’re both adorned and forgettable.

Despite Bazmee adhering to his tried-and-tested formula, there are surprises in Welcome Back. However, fortunately, there aren’t any spoilers since no one knows what happens in a final few seconds of a film. The finale is rather literally adult in a air.

But here are a few of a doozies that Welcome Back does offer us. Did we consider there would be a conditions in that you’d watch Naseeruddin Shah on shade and wish he could act some-more like Feroz Khan? Bazmee also throws in a scene in that Abraham gives a whole new definition to a tenure “dry humping” when he leaps from camel mound to camel hump. No one could have seen that coming.

There’s a lot to adore in Welcome Back if we don’t design comprehension from a film. Like a method in that Uday and Majnu play antakshari with ‘ghosts’ in a cemetery (with neon tombstones, no less). You get to hear Kapoor singing “My name is Lakhan” after 26 years. There’s also a enclose named Wanted Bhai who gets a operatic carol sing “Wanted Bhaaai” any time he creates an entrance. Just to move this sense home, his son’s name is Honey (played by Shiney Ahuja, that creates this purpose a double whammy of hapless names). And let’s not forget a dried follow that involves hovercrafts, skydivers, four-wheel drives, helicopters as good as a pointless sight of camels.

Welcome Back a film that is totally wakeful of how foolish it is and delights in a idiocy. Bazmee also tucks in funny details for a keen-eyed, like Majnu’s art that is positively spectacular. We’re quite lustful of dual of his paintings. One shows a equine on tip of another (take that MF Husain) and a other is of a Dubai skyline.

Patekar is smashing as a prone-to-rage Uday. He dances gleefully, packs many punches in his lines and is glorious with a slapstick antics that Bazmee final of him. Giving Patekar association are Kapoor and Rawal. What Kapoor lacks in a description department, a age-defying actor creates adult for with appetite and enthusiasm. As Majnu, Kapoor is dressed as flashily as ever (although Dimple Kapadia’s habit in this film creates Majnu’s Technicolor velvet jackets seem roughly sober). He doesn’t make many of an sense when he’s perplexing to be a ominous bhai, though he’s an glorious foil for Patekar. Rawal pops adult intermittently and establishes nonetheless again that he’s one of a many versatile comic actors.

These group are a stars of Welcome Back, though what creates them gleam are a dialogues created by Raaj Shaandilyaa. This is Shaandilyaa’s initial film and he creates certain everybody in Welcome Back, including extras, get lines that will move them laughs. Some actors do probity to Shaandilyaa’s essay comedy and say an impressively stupid tone, while some struggle. Regardless, a lines are humorous adequate to work notwithstanding a actors.

For instance, when a blind male gets a hit on his conduct and is unexpected means to see again, Uday tells Majnu that it’s flattering considerable how absolute Santoshi Maa is even in a deserts of Dubai. It helps that Patekar is a one entrusted with this line, though it would be humorous no matter who pronounced it. At another point, a mafiosi gives a lady he’s romancing a pat on a impertinence and gets slapped. His minions explain to him, “Bhabhi ne aapko Emraan Hashmi samjha aur aap Amol Palekar nikley.” (“She approaching we to be Emraan Hashmi and we finished adult being Amol Palekar.”)

Unsurprisingly, after intermission, Welcome Back loses some of a steam. This is partly since Bazmee struggles to move a film to a tighten and also since a executive shifts concentration from discourse to stunts. The movement sequences are outlandish in Welcome Back and exaggerate of some of a misfortune CGI seen in new times. It’s apparent that Bazmee has ensured a special effects are deliberately awful in a wish that they will pull laughs, though in terms of humour, they don’t reason a candle to the dialogues.

At 153 minutes, Welcome Back is only a shade too prolonged and a finale is a sandstorm of stupidity. But you’ll pardon Bazmee and squad since for during slightest 120 minutes, this comedy keeps we in splits. Welcome Back competence be 2015’s silliest film and this is a best reason to watch it. After all, when was a final time we came out of a cinema giggling?