After all the hype and hoopla, I finally opted to see a movie that friends were sure I’d not like. I’m not generally critical towards Hindi films; infact i’ve loved several of them. However, when a filmmaker who makes pretencious claims of changing the phase of Indian cinema churns out copied mish-mash, it strikes a raw nerve.
Salaam Namaste was no less different. Ofcourse its first-time director made no such noble claims. But like most films these days, this one was copied from a not-so-great Hollywood flick Nine Months.
Set in sunny, friendly Melbourne, the film tells the tale of med student-cum-radio jockey Amber and architect-turned-blood fearing-chef Nick. Like in most Hindi films, they meet amidst hostile circumstances. They hate eachother’s guts, but a pointless song later, they decide to move in together and test the waters. Also, their emphatic need for two separate rooms soon graduates into a growing fondness for eachother, and some lip-locked lovemaking. Yes, Amber gets pregnant. But unlike the typical bharatiya naari, she doesn’t attempt suicide. She decides to keep the baby, much to Nick’s growing horror.
So far, I was positively amused. In a world where filmmakers glorify virginity and senseless relationships, here were two real-life characters. They were open about their interest in eachother, and quite willing to take this interest further, by moving in together. But again, perhaps the writer and director weren’t feeling brave enough, which is why the characters got conviniently transported to Melbourne, minus the parents, uncles, aunts, grandparents, milk-maids, family doctors, and well-meaning man servants (reminiscent of any Sooraj Bharjatya film).
After Ambi gets pregnant, Nick wants her to have an abortion. But typical film style, she views a sonogram, and changes her mind. This decision costs her the relationship with Nick, who doesn’t want to be tied down with a baby and wife. Then begin the fights (some of them are annoyingly loud), sentimental moments (Nick and Ambi touring the streets of Melbourne at night for Icecream), the funny moments (several of them with side-kick Ron (Arshad Warsi), who isn’t his best in this film), and the predictable ending. The film ends with weird, confused doctor (Abhishek Bacchan) helping deliver Nick and Ambi’s twins.
Silly and ridiculous, the film has everything the trailor promises. You know what you can expect, as soon as it begins. Quite similar to Kal Ho Na Ho (minus Chopra favorite Shahrukh Khan), the film has some beautiful locations, well-dressed beautiful people, a few decent songs, and tons of slapstick comedy. The finale, that was meant to give the film a happy end proved to be a complete disaster. I didn’t mind the mayhem, as much as I minded the sudden halt in the painful delivery, just so Nick could spew his sentimental lines and slip a ring into Ambi’s finger.
The slapstick comedy is further aided by the likes of Javed Jaffrey, who plays a wannabe-Australian desi, who speaks incorrect English.
Saif Ali Khan is decent, as he has by now perfected the role of the goofy-yet-lovable-romantic. Surprisingly, he is going the Salman Khan way, as he is bare-chested in most of the frames, flaunting his newly sculpted body.
Preity Zinta looks pretty, dresses well, but she overacts. I think it’s about time she gave the bubbly image some rest. She screams and yells so much, you almost wonder why Nick tolerates her at all, in some of the scenes.
First time director Siddharth Anand shows promise. But then again, he has a long way to go, in comparison Farhan Akthar and several other newcomers.
Mostly entertaining, you could watch the film if you’re trying to kill some time. But remember, expect nothing cerebral!