Tere Naal Love Ho Gaya – Movie Review
Posted by Vivek on February 25, 2012 | No Comments
PRODUCER – Ramesh Taurani, Kumar Taurani
DIRECTOR – Mandeep Kumar
WRITER – Abhijeet Sandhu
CAST – Riteish Deshmukh, Genelia D’Souza, Om Puri, Tinnu Anand, Smita Jayakar
MUSIC – Sachin-Jigar
There is a belief among Bollywood producers that real life ‘jodis’ spark a profound interest among viewers to watch them couple up onscreen. It is most evidently one such belief that brought an unlikely pairing in an even more unlikely rom-com – ‘Tere Naal Love Ho Gaya’.
Set in the northern regions of Punjab and Haryana it tells the story of Viren (Riteish Deshmukh) and Mini (Genelia D’Souza) who end up on the run due to Viren’s gone-bust dream and Mini’s sheer adventurous spirit. To avoid getting married to a guy she dislikes, she forces Viren, who drives rickshaws for her father, to kidnap her. They flee and after a whole lot of capering around in broken into houses, fooling people and so on, they themselves are kidnapped by Viren’s father (Om Puri), a crime master with a deadly reputation. A whole new film begins from then on, ending on the predictable note the title screamingly suggests.
The film entirely revolves around Mini and Viren’s exploits and puts tremendous pressure on the duo to sparkle beyond their capabilities. An incredibly stodgy screenplay and Bollywood’s old habit to spell everything out, be it in dialogue or events milk out every little potential a goof, idea or joke has. Riteish and Genelia are then left with two stock things to do – Riteish to play the loser with a constantly agitated look and Genelia to shower her spunk and energy at the drop of a hat, without restraint.
The film is full of colour, music and dance. Sometimes a little too much. While Genelia’s styling shouts out VIBGYOR without fail, the duo also constantly feel compelled to break into romantic songs for no reason. Songs, that are needless to say, tepid and forgettable. The time they spend at Viren’s father’s place is a typically Rajasthani haveli with a complete Rajasthani family in the midst of Haryana, displacing the already off-the-kilter film. Om Puri plays the patriarchal criminal Chaudhury with as much conviction he can muster, providing the necessary laughs that every long-drawn joke is stretched to.
As a genre, the film milks the runaway girl-boy theme to its extreme. But loose direction and looser dialogues strip the joy of watching an otherwise sparkling Genelia and endearing Riteish get on with their love story. By the end of it, it becomes a mish-mash of several films and intents not doing justice to any, least of all itself.