Welcome Back
Mazaak tha mazaak!

Anees Bazmee
Writer - Director

Raj Shandilya

Film Review
Welcome Back:Wanted BHAIs v/s UnWANTED Bhai

Welcome Back

Wanted BHAIs smiley v/s UnWANTED Bhai  sad

Anees Bazmee is famous for his films’ titles. There could not be a more appropriate title for the sequel to this 2007 superhit comedy ‘Welcome’, than ‘Welcome Back’. A director, who has been making films almost every year since 2005, took a long gap after his two one-after-the-other not-so-big hits - Thank You and Ready. Was he busy writing a sequel to his superhit Welcome? Unfortunately after watching Welcome Back, one can’t believe that. It seems he has fallen into the trap of forcing himself to create a story where there is none or worse, not needed. surprise

            Welcome Back, welcomes you into the world of Shetty Bhais Uday (Nana Patekar) and Majnu (Anil Kapoor) who apparently have become shareef after a Nanga Bath sorry they meant Ganga. So they are no more the dons they used to be but opulent 5 Star Hoteliers, who have buried their weapons too in same hotels. But this drastic external transformation in their character hasn’t brought any internal or intellectual change in their personalities. Just like the first part, they easily fall into the honey-trap of a beautiful crook (Ankita Shrivastava) heartunder the supervision of her mother (Dimple Kapadia) and give away crores as gifts in cash or kind. Never mind, btw they have none. Our men get fooled by the duo easier than the ladies try. sadno

Ditto like first part, our Bhais are blessed with the same daulat, shauharat and izzat stuff and have the same problem of searching a shareef groom for another sister Ranjana (Shruti Hassan), from yet another mother. Interestingly, this time the shareef ladka who doesn’t happen to be so shareef, is an illegitimate son of Mrs. Ghunghroo. So, again Mr. Ghunghroo (Paresh Rawal) happens to be their samdhi.

          To make the plot look different, Anees Bazmee, and writers Rajiv Kaul and Raj Shandilya, have forcefully complicated the screenplay. The complications wouldn’t have mattered much had there been any interesting plotting.

The film begins with the honey trap for which Uday and Majnu fall and how Ankita’s character of a fake Rajkumari keeps tossing them around. This might create fun but of some unintelligent kind, where you wonder they such nincompoops that they can take anything. At no point, this part of the screenplay has any challenge, crisis or clash. Well, the point at which crisis emerges, the external problem of external sister strikes out of blue. So the film leaves this crazy love triangle and steers on the new path of finding the groom for sister. Then some turns and twists of events, which are fast-paced, do manage to surprise/engage you, till the midpoint where Ajju Bhai is pitted against the Two Brothers.yes

We wait to see what happens with this conflict, how things go for a toss and resolve. But no, again this path is left and the film steers onto another plot of Wanted Bhai and his son Honey’s desire to marry Ranjana. The original conflict that might have created some interest is forced into this unWanted territory where more fooling around goes and you lose whatever interest you had in the characters and their problems. Such external devices like Wanted Bhai are itself an indication of the screenplay going out of hands. Instead of intertwining the conflict between the brothers and the damaad, the Writers introduce external bigger problem, bigger just in size, GRAND, but hollow, killing your interest and leaving you just waiting for the climax, surviving on one-liners of our favourite brothers-duo.  crying  no   

But what happens in the climax doesn’t even answer that. Like a typical Bollywood comedy set-up, all characters are gathered at one place under some crisis. Here remaining true to Firoz Nadiadwala’s signature style that happens in a desert. While the crisis mounts, guess what would be the solution? Another external crisis. Now in the form of an enormous herd of camels rushing towards them followed by a desert storm. So right from beginning you are introduced to a problem, but instead of giving solution to it the Writers introduce another bigger problem and this goes on until the climax when some stupid and easy solution is thrown at your face and exit doors are opened. angry

Apart from our dear brothers and Dr. Ghunghroo, the characters brought forward from Welcome, none of the new characters has the power to engage the audience. Naseeruddin Shah as Wanted Bhai is nowhere near to the charm of RDX of part one. Frankly his track looks forced, very much unWanted. Katrina Kaif and Shruti Hassan create almost an equal impact just that Katrina looked prettier. Even Mallika Sherawat ‘faired’ better as Ishika than the new lady Ankita, who fails to deliver a decent performance.

But Award for the worst replacement goes to the “hero” of the film. John Abraham as Ajju Bhai makes you miss Akshay Kumar in almost all the frames at any fps. John’s wooden performance flattens the film too. Shiney Ahuja, who plays Wanted’s son Honey, comes on the screen after so long as a passionate, serious lover of Ranjana, doesn’t even try to giggle you. no

The dialogue might keep you entertained, but none remains with you after the curtains are drawn.

             As if all this wasn’t enough, the film also has this terrible jukebox of songs that attack you in the most annoying way, with lyrics like main bubbly hui, tu bunty hua, band kamre mein 20-20 hua. It gets quite intolerable to let these songs torture you for 4 to 5 minutes each. frown

            In spite of all this, Welcome Back can serve as a one-time tolerable entertainment because of Nana Patekar and Anil Kapoor and those 5 sec flashbacks from the original movie. And yes, there is one Graveyard scene, which is genuinely hilarious. laugh

            “Welcome” ka diya sabkuch hai. Daulat hai, shauharat hai, izaat bhi hai bas ek achhi script nahi hai. indecision

And the film leaves you like Wanted Bhai’s Takiya Kalaam.

   Prakhar Khare

A film buff who loves to read, write and analyze cinema, literature and music and connect them with life..

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