Director Abhishek Jain delivers a passable film that never really lifts off the ground
After making a successful name in the Urban Gujarati industry, Abhishek Jain makes a debut in Bollywood. But not as powerful as was expected of him. Rather it would be more convenient to say that expectations do hurt. Hum Do Hamare Do comes with a message and is a light hearted venture, but there is hardly anything that finds a connect.
Watch the trailer here:
Dhruv Shikhar (Rajkummar Rao), a successful entrepreneur falls in love with a blogger Anya Mehra (Kriti Sanon). Dhruv, an orphan is a self-made man while Anya is a family oriented girl who will only marry a person who has a loving family. Dhruv will now have to make a family of his own.
The story is written by Deepak Venkateshan and Abhishek Jain with screenplay and dialogues by Prashant Jha. The idea of creating a family is interesting. It gives you perspective on relations and how one can survive on bonds and love, despite not being related by blood. Infact the film also makes a comparison between real affection and what hollow families claim to portray affection. The concept of bringing together estranged people for one common cause, with love at the forefront is also something that resonates. The notion of what is right and wrong in love is also told through perspectives.
But that’s that. Apart from the idea or the logline of the film, nothing in the script is endearing. The film is an example of what a laidback execution can do to ruin the essence of a fairly decent story. There is attempt of comedy, but you don’t get the laughs. There is attempt to touch your heart, but the emotions run flat. There is also attempt to weave in a passionate chemistry, but it remains far fetched. The scenes lack the basic charm required for the film of such a genre and they just keep moving. You also have many questions about why certain characters behave in certain manner.
For instance when the first time the ‘fake’ parents of the boy meet the girl’s parents, you clearly question on why the boy didn’t prepare them. Ofcourse, only to give some meat to the script. But it clearly doesn’t work. You have a preparation scene after this though, which should have been inserted before the plan is executed. Same happens during the engagement scene also when the baraat arrives and nobody is prepared. As a filmmaker, there is no flaw here. But for audience, there are loopholes which can’t be avoided.
The parallel track involving Paresh Rawal-Ratna Pathak Shah is charming enough to watch on screen, but even that hasn’t been cooked well. There is a backstory but not profound enough to actually make you feel for them. You don’t get to see a proper beginning or a closure to their tale. Paresh’s character wants to be with Ratna’s character but why so desperately is never brought out convincingly on screen.
The film many a times also reminds you of 14 Phere, that also talks primarily about the concept of family. The difference that lies is that it talked about accepting inter-caste marriages.
For Rajkummar Rao, this act is a cakewalk. He does fine. You like him. It does seem he is underutilized.
Kriti Sanon also does well remaining within the boundaries of the role. She looks good and adds confidence in the story.
Paresh Rawal is brilliant, as he has layers in his role. He has been given some of the most entertaining scenes where he has the scope to make even the simplest dialogues stand out. Super work by him. Similarly Ratna Pathak Shah also delivers a seasoned act. She mostly remain upright, sticking to her role and does complete justice to the image of the character.
Manu Rishi is amazing. He has his own moments where he makes sure to shine. His dialogue delivery is something to watch out for. Prachi Shah has a smaller screen time but she also delivers well on the brief.
Aparshakti Khurana once again nails the friend role. He just can never go wrong as a friend. He can even impart lessons now on how to become a friend in Bollywood.
Sachin-Jigar’s music and score are decent. Not too great. Not too bad. Writing itself is weak by nature. Score still tries its best to lift it to some extent.
Cinematography by Amalendu Chaudhary is good. Appealing to say the least. The usage of warm lights in major portions gives a holistic flavour of affection. Production design by Dayanidhi Patturajan and Amrish Patange is also elegant. The house or the office spaces are all crafted with intelligence. The flavour is real and also polished.
Editing by Dev Rao Jadhav is fairly satisfactory. There are no dull moments as such and the breathers also are meticulously put in the film.
The film could be much stronger. The screenplay suffers in how the scenes have been conceptualized.