Songs have always been more about the lyrics for me. So, I'm attaching it here in the end like a song in the end credits. Songs: Anything about the music in the above review would be as out of place as the songs were in the movie. What hurts is that if they are smart enough to hit upon these particular nuances, how can they monkey around so much for the rest of the movie? I wonder how much those who can't identify with such an arrangement will appreciate it, but that the makers bothered deserves extra credit. The few facets of a utopian arranged marriage that rab ne bana di jodi touches upon are intriguing. Sure there are the token office mates, but here we see the one Panjabi family with only two members - the husband-ji and the wife-ji and the transformed husband-ji.Īnd yet, it is not the take a chill-pill and watch kind of movies. In the heart of Amritsar, a married woman dances and prances about with a 'stranger'.
#INDEX OF RAB NE BANA DI JODI MOVIE MOVIE#
And the climax 's just say the movie has a male-chauvinistic touch.Īlso, our newly married couple lives in a socio-economic vacuum. What do we know about her? Are we made a part of her confusion? Do we know why she makes one decision or the other? No! And thus I resign to how these roles are written to give us a feeling that it's all about the woman. But, the lady's part is ever-so sketchily written. She's the center of the plot because the protagonist, his alter-ego and his friend all care for her, adore her, love her. The role of women in movies like these is very cleverly written.
The other expressions are all taken care of by that drop of glycerin. Surendra's lady love, Tani, played by Anushka Sharma seems like she has the 'single-expression' training form the YRF's-Aishwarya-Rai school of non-acting. There wasn't enough room for Vinay to maneuver around and yet he can make over-the-top acting look adorable. Why did we have Vinay Pathak playing Surendra's friend, the devil's advocate, the supposed "inner voice"? His character was especially redundant given that Surendra had an alter-ego of his own. The story is about Surendra and his wife. Actually, I had just begun to enjoy Shah Rukh's performance as the middle-class government servant, Surendra Sahni, with the minor twitches and eye movements when suddenly he transfigured into a badly-dressed Shah Rukh Khan - eyebrow curled, whispering romantic inanities, piling on an inconsistent accent and only waiting for someone to grant him the permission to start stutt-stutt-stuttering. In the name of versatility, his character HAS to make a diagonally opposite change. We have a star amongst us who needs to keep everyone pleased. Why? Can only the exact opposite personality can create impact and impress the Mrs? Isn't there anything in between? I'm not even interested in the missing 'how', the 'why' hasn't stopped bothering yet. The timid Surendra, in his attempt to please Tani transforms into a bright gold and yellow creature, called - what else - Raj. These are all subtle issues that need delicate treatment. Just like it is frustratingly boring for an extrovert to convert into an introvert, it is not really acceptable for a shy person to have bubbly enthusiasm as a permanent feature. The sacrifices one makes in the form of changes to your persona that lead to claustrophobia. What it takes for two decent human beings to make it work and stick it out.
It takes you into the world of this twosome that got married without really knowing each other. And here it thankfully goes a couple of layers deep. This leaves room for the crux of the relationship. Yes, the back-story is barebones or even less. There are only three two-and-a-half characters here, Surendra, his wife Tani and his friend Bobby.
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