BEFIKRE Movie Review: Wasteful film faking



Wikipedia page on the film says that it cost Rs.70 crores to make and market. It certainly was not hard-earned money and the money that pays for the expensive multiplex tickets of the film will not be hard earned either.  We have heard of the stories of black money hoarders generously offering useless Rs. 500 & 1000 currency to holy Ganga Maiya. In this case one can see precious Euros floating in the Seine, the river termed by the French as an open sewer. 


The film comes across as a blatant and rather boorish and juvenile commercial for French kissing and free sex. It’s a fake, with fake characters and a fake idiotic story, a product of Indian brain cells that have lost their vitality due to toxic exposure to the DVDs of ‘B’ grade romantic films of Hollywood that find it tough to see a mainstream theatrical release in the USA these days. A few smartly written dialogues are the only redeeming features of the ultra-verbose copycat film, replete with pathetic YRF clichés.


Dharam (Ranveer Singh), a stand up comedian from Delhi, reaches Paris on the invitation of his old college buddy, now a Paris restaurateur, to amuse the crowd of Indians who patronize his Indian comedy club joint. The hunk is on the look out for a hot girl to pleasure him when he is off duty. He finds one at a party, a French girl of Indian parentage (born & brought up in France). Her name is Shyra (Vaani Kapoor). They get into the dare game, instantly bond and bed together. It happens even faster than what European avant-garde porn filmmakers can plot or imagine. Shyra moves in with Garam Dharam to the discomfiture of her traditional Indian Punjabi parents and they begin to live and fight, love and hate together. They break up and then unite and then separate again. And not before long the issue of marriage crops up, both seem unsure, the boy in particular. Then comes a regular ‘kabab mein haddi’ kind of YRF character to help our ‘befikre’ protagonists to indulge in some ‘chinta’ and ‘fikr’ and rethink of their respective ideological positions and realise what they actually want in life and from each other. 


And Aaditya Chopra spends 70 crores for this rehash job that’s neither French, nor Indian, or American or Punjabi. Of course that Wikipedia figure of 70 crores is quite exaggerated. I know a friend who could have produced the film at a measly below-the-line budget of a few crores without making Paris look like a YRF studio set.


It’s sad to see well-known Bollywood names indulging in this kind of wasteful film faking. This could have been an interesting and credible film about a Delhi loafer meeting a French girl of Indian origin in Paris and falling in love and going through the pangs of the process. The premise contained interesting artistic and commercial possibilities of being developed into a credible and significant genre film with unique Indian flavors that could have found favor with western audiences as well. 


It’s surprising that an Indian filmmaker, who has seen the world and has even funded Hollywood films, gets so obsessed with ‘French kiss’ and ‘instant sex’ and presents it as a kind of ‘western exotica’ to his audience. Kissing, casual sex, and live-in relationships became passé years ago and unless you want to deliver a moralizing message, you need not underline such elements so heavily in your storytelling Chopra Saab. That’s too juvenile to be digested even by little kids.


Moreover, apart from money and effort, you have also wasted precious talent here, of your actors as well as of your own.



Directed by Aditya Chopra, Produced by Aditya Chopra, Screenplay by Aditya Chopra, Story by Aditya Chopra, Sharat Katariya (dialogues), Starring Ranveer Singh, Vaani Kapoor, Music by (Songs) Vishal-Shekhar, (Background Score) Mikey McCleary, Cinematography Kaname Onoyama, Edited by Namrata Rao, Production company -Yash Raj Films, Distributed by Yash Raj Films.

Rajesh Kumar Singh

@khulkebolo @neelnabh

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