Dhanno thought that the people who made ‘Finding Fanny’ “were so happy with the look of the film, oh how pretty everything is, and these quaint characters, and Deepika against the light in sheer clothes, that they didn’t bother with anything else.”
And Deepika she says, “I wish she would do more. It’s not enough to always be nice, and cute. Even when you are angry, you are cute. You lose it, and you are still so cute, that the boy only wants to kiss you. It’s irritating. There must be more to everyone. Something not perfect. Something ugly. Otherwise it’s just boring. And Angie of course, is the ‘perfect’ woman, someone who is hot and yet so nice, she is always taking care of everyone, she is the mother. The woman who will let you go out and drink and be with your friends, while she keeps the family together, takes care of everyone. Perfect. These people don’t know how to write about women.”
Dhanno does have a bias against Deepika Padukone. For going out with Ranbir Kapoor. Because Teja likes her. Because her friend Badal likes her. Because she is so tall. But yes, I do hope that Deepika is able to go beyond ‘nice’, that people write roles that allow us to see a more complex woman. There was ‘Cocktail’ of course, if it were not for her realizing that ‘bad’ women don’t win.
Dhanno and I liked ‘Daawat-e-Ishq’ more. Gullu is a woman with ambitions, drive, and opinions. Unafraid. The film itself falls flat, it could have done so much more with the idea, the location, the actors, the romance. But it’s all done in shorthand. With some insipid songs and choreography trying to bridge story gaps. Dhanno said, “I wish there had been more dialogue, specially between Gullu and Taru. I wanted to hear them speak, while they got to know each other.”
‘Khoobsurat’ has a standard Disney formula, it’s predictable. But fun. It has some really funny scenes between Sonam Kapoor and Kirron Kher. The falling in love parts are also nicely worked out. I liked the confusion, the storming ahead by Mili, and the reticence of Vikram. It all moves smoothly with the fabulous backdrops and some justice has been done to all the characters and tracks. The songs too were used with discretion. ‘Maa ka Phone’ is fun, and ‘Preet Na Kariyo Koi’ is really nice. Hummable, like a good Hindi film song should be.
Dhanno and I liked ‘Khoobsurat’ best. Who would have thought? Anyway, I don’t have much against Sonam Kapoor. She is not much of an actress. But she looks good. And I can’t but help but like her brash, outrageous statements in this world of bland public relations savvy profiles. Dhanno says, “If she would just feel the urge to think a little about what she is doing, she could be good.”
Fawad Khan is of course, a hunk with his sleepy, almond eyes. Dhanno kept looking at him and saying, “Maybe he should try opening his eyes a little bit. He has gone to sleep again.”
I said, “It’s because he has almond shaped eyes.”
Dhanno said, “I have almond shaped eyes too, don’t I?”
Between dark brooding eyes (Arjun Kapoor), charming kind eyes (Aditya Roy Kapur), Mr. Sleepy Almond Eyes (Fawad Khan) wins hands down. Plus he has the advantage of being a more accomplished actor. He takes an almost supporting role and adds to it, even in small moments like looking and walking away.
Mili in ‘Khoobsurat’ keeps exclaiming to her mother and herself, exasperated at the Rathores, “They just don’t talk to each other.” I loved that. Almost every time you see a Hindi film, you think, “But why don’t they talk to each other?” Plots are based on people’s silences, and a whole lot of miscommunication and misunderstanding. Lying or evading issues, or hiding seems to be a default mode. So it was great to see a mother-daughter relationship, where the girl could even talk of her kissing goof-ups with her mother.
A movie-marathon day, and Dhanno and me talking about films, women, women in films, on the ride back home. My definition of a perfect day.