Heyy Baby
Director: Sajid Khan
Actor: Akshay Kumar, Ritesh Deshmukh, Fardeen Khan
Rating: * * *
Khan, the director of this film, also a known television anchor and stand-up comedian, is truly a film buff. It shows in the references he makes in this first feature-length movie. He did the same in his excessively referential short film on the Ram Gopal Varma package Darna Zaroori Hai.
Some odes are obvious, for instance his mini-sequel to Dilwale Dulhania Le Jayenge where 'Sim-ran (away)' so Raj is single still, or the parodied Parimal Tripathi (of Chupke Chupke) who Fardeen parodies further with his shuddh, spasht Hindi. Some, like Akshay's neat mimicry of the lesser-known villain Jeevan is a touch only connoisseurs of '70s blockbusters are likely howl off seats over. But it's fun almost all the way.
The film itself is Leonard Nimoy's Three Men And A Baby (1987). Only to the point that it's about three bachelors: in this particular case, unattached, unemotional philanderers perennially playing the dating field. They land up with an unclaimed infant at their door-step. The baby initially makes their life hell, and you know soon enough, she'll permanently alter their unemotional lives as well.
Khan has seen the Hollywood original. He has borrowed a trivial scene or two. But beyond the preliminary premise, this is objectively your leap-of-faith, conveniently placed 'Bollywood' bowl that as the clich goes, promises to please all with a laugh and a cry and a dance… The sort that fixes one eye entirely on the jack-pot at the box-office.
Therein lies a problem: minor at most times; and major, as the case be. The film should have entirely remained the marvelously brilliant low-brow comedy with a soft message that it is.
The director evidently understands the genre. His lines are quick, sharp and spunky. His actors possess a repartee-timing nearly unrivalled in the recent past: In particular rank of merit, Boman Irani (in top form); Ritesh (naturally gifted to build his own niche); Akshay (cashing in on his recently-perfected catty antics); even Fardeen (a pleasantly rare surprise).
Yet, the unrestrained, unsubtle, exacting melodrama thereafter rarely matches the crispness of the humour that appears between. A lot could be suggested while remaining funny throughout; a lot expressed with music alone.
It's schizophrenic to take seriously a bunch of stupendously funny entertainers suddenly turn so wide their tap of inner but overt emotions. They seem more sissy than sombre; the purpose isn't adequately served.
For about a decade or so on television and stage, Khan has made a living delivering puns and taking pot-shots at people from the pictures. He inserts a few, here and there: a little rap on Fardeen's Jaanasheen, a bit on Raj Santoshi ka vrat (for a fast on a movie-goddess by a similar name). But on that front, he rarely bites into the expected temptation. He sweetly sticks to the clever subject, and never goes over-board. If you can pardon the lengthy sentimental portions he goes overboard on, this mad-cap, guy-flick is absolutely your money's worth.
CID
Kyunki Saas Bhi Kabhi Bahu Thi 2
6