Base Industries Group's AWARA PAAGAL DEEWANA, directed by Vikram Bhatt, is loosely inspired by the English flick THE WHOLE NINE YARDS.

A mafia don (Om Puri) leaves behind a will that creates a feud between Guru Gulab Khatri (Akshay Kumar), his son-in-law, and Vikrant (Rahul Dev), the don's son.

As per the will, diamonds worth millions of rupees, which have been kept in a U.S. bank locker, can be claimed if the three inheritors – Guru Gulab Khatri, Vikrant and Preeti (Preeti Jhangiani), the don's daughter – personally sign the papers.

Vikrant wrongly implicates Guru Gulab in an assassination case, which forces Guru Gulab to flee the country.

Guru Gulab reaches America, where his immediate neighbour is Anmol (Aftab Shivdasani), a doctor by profession. Around this time, Vikrant announces a cash reward to anyone who reveals Guru Gulab's whereabouts.

Anmol's greedy wife Mona (Amrita Arora) and mother-in-law (Supriya) force Anmol and Manilal (Paresh Rawal), the father-in-law, to meet Vikrant in India and inform him about Guru Gulab's whereabouts and collect the prize money.

But upon reaching India, Anmol and Manilal are picked up by Yeda Anna (Sunil Shetty) and Chhota Chhatri (Johny Lever), who are contract killers. What happens next?

AWARA PAAGAL DEEWANA is one of the most stylish thrillers attempted this side of the Pacific, with all sorts of jokes and slapstick thrown in to enliven the proceedings. A glossy product, it takes a step forward in terms of technique, but stagnates when it comes to the script.

To an extent, director Vikram Bhatt succeeds in his mission of making you laugh, even if logic takes a backseat and the wafer-thin storyline is stretched beyond a point in the second half.

Despite a half-baked script, the film holds your attention, in the first half mainly, for several reasons –

* One, the stunts (Philip Ko, Abbas Ali Moghul) are breath-taking, comparable to any international flick;
* Two, the film has a larger than life look – the stars, the visuals (U.S., Spain, Muscat), the overall rich and glossy look;
* Three, the pleasant-sounding music (Anu Maliik) and the outstanding picturization of all songs;
* Four, the light sequences in the first half and the witty one-liners (Neeraj Vora);
* Five, the packaging of the film, the technique used, is a cut above the rest.

Director Vikram Bhatt and his team of writers (Anand Vardhan, Mangesh Kulkarni) succeed in arresting the viewer's attention in the first half of this enterprise.

Notable sequences –

The introduction of Akshay Kumar is spell-binding… The sequences between Paresh Rawal and Aftab Shivdasani, their interaction with the women of the house (Amrita Arora, Supriya) and later with Akshay Kumar, drive you wild… Sunil Shetty's introduction (action) is nail-biting… Upon landing in India, the scenes between Paresh Rawal and Johny Lever are hilarious… The interval point, when Akshay and Sunil join hands, catches you unaware…

Together with stylish execution and superb cinematography (Pravin Bhatt), the outcome leaves you thirsting for more.

But the film suffers in the post-interval portions, since it gives an impression that the writers were, perhaps, trying to package just about everything to woo the viewer. The outcome is tedious and not as exciting as the first half.

The blemishes –

The 'lookalike' track of Rahul Dev gets complicated and is difficult to digest… The wife swapping – Aftab's wife Amrita Arora teaming with Sunil Shetty, Akshay's wife Preeti finding true love in Aftab (although he does nothing to win her love!) – is difficult to absorb… After Rahul Dev's exit, the viewer feels that the film is likely to end, but with the two heroes (Akshay, Sunil) coming to blows, the climax loses its impact to a great extent.

Directorially, Vikram Bhatt shows a flair for light entertainers, but he's handicapped to an extent by the screenplay. Technically speaking, his shot execution is fantastic.

Anu Maliik's music is of a hit quality. The songs are tuneful and the best part is, they come at the right places, complimenting the goings-on. Although difficult to choose, since all the songs are striking, 'Feenak, Ya Habibi Feenak' stands out due to its snazzy picturisation. The choreography of all songs (Ahmed Khan), in particular this number, is remarkable.

Special mention must be made of the witty one-liners penned by Neeraj Vora. This is amongst his best works to date. Those delivered by Paresh Rawal and Johny Lever are sure to bring the house down. The cinematography, stunts (Akshay and Sunil's separate introductions, and the car stunts in the climax deserve all the marks!) and choreography of songs (Ahmed Khan) are top class.

Producer Firoz A. Nadiadwala has spent lavishly and the results are eye-filling. The production values are simply grand.

And now to the performances!

AWARA PAAGAL DEEWANA undoubtedly belongs to Paresh Rawal, who is unbeatable when it comes to comedy. He contributes enormously to some of the best moments of the film. The role of a henpecked husband is sure to win him awards, accolades and plaudits.

Akshay Kumar is proficient, enacting his role with élan. Sunil Shetty is not as convincing, mainly because the screenplay doesn't offer him enough scope. Aftab Shivdasani is alright. Johny Lever is superb. His scenes with Paresh Rawal and Aftab are thoroughly enjoyable.

The three leading ladies – Preeti Jhangiani, Amrita Arora and Aarti Chhabria – add glamour to the proceedings. However, they get no scope to display histrionics. Supriya is first-rate. Rahul Dev leaves a mark.

On the whole, AWARA PAAGAL DEEWANA has an excellent first half, but a just-about-okay second half. From the box-office point of view, the fabulous stunts, excellent music and an aggressive promotion will help the film reach the safety mark. Business in metros should prove to be the best. Well worth a watch!

source:IndiaFM

Another positive review for APD by sify.com

Feroz Nadiadwala’s APD is the desi take-off on The Whole Nine Yards. This thriller comedy is a fast paced action flick sure to keep the viewer glue through the continuous mish-mash of emotions and laughter galore.

Guru Gulab Khatri (Akshay Kumar) is the most wanted underworld don who has an estranged marriage with Preeti (Preeti Jhangiani). His father-in-law is a mafia don (Om Puri) who dies leaving diamonds in a New York safe, that have to be equally distributed between his only son Vikrant (Rahul Dev), daughter and son-in-law. The diamonds worth hundred crores kept in a foreign bank have to be equally divided between these three and to claim the diamonds from the bank all three have to be present at the bank and personally sign the papers. In event of death of any of the inheritor's death, a death certificate has to be produced to the bank. These diamonds make Vikrant and Guru rivals who can’t stand each other and one day, Vikrant wrongly implicates Guru Gulab in a very serious crime, which forces him to flee out of India. There, Guru Gulab comes to stay in the neighborhood of Dr. Anmol Acharya (Aftab Shivdasani), a dentist who is a simpleton. He lives with his father-in-law (Paresh Rawal) and his greedy wife Mona (Amrita Arora) and her mother. Meanwhile in India, Vikrant announces grand prize money to those who tell him the whereabouts of Guru.

When Mona finds out about this, she forces her husband to go to India and meet Vikrant to inform him about Guru Gulab and collect the prize money. On reaching India, Anmol and his father-in-law meet goon Chota Chhatri (Johny Lever) who takes them to a local goon cum boxer, Eaida Anna (Sunil Shetty). Chhatri and Anna work for Vikrant and they strike a deal with him to kill Guru and acquire the prize money offered by him. They return with Anmol to America to kill Guru, but Anna’s real interest lies in the diamonds. And to reach the diamonds becomes everyone’s aim. Meanwhile in India, Anmol falls in love with Preeti and in America Sunil falls in love with Mona. Even Guru who is already married finds his true love in Anmol’s secretary Aarti (Aarti Chhabria). In all this confusion, Guru finally reaches the diamonds in the end and distributes them between all those who have helped him to overcome Vikrant.

APD is a very complicated script but director Vikram Bhatt has handled the film well. Anu Malik’s music is okay and except the title song, the rest of the songs are mediocre. The dialogues are once again clearly winners in the films, and the comic sequences between Johny Lever and Paresh Rawal are hilarious. Of the performances it is the character actors Johny Lever and Paresh Rawal who steal the show. Akshay Kumar has proved that he has definitely grown as an actor, giving an excellent performance and he even looks terrific. Both Sunil Shetty and Aftab too are very good but the three leading ladies have nothing much to do and are wasted. Rahul Dev is able but gets lost in this multi star cast. Overall, this is an action filled movie that is a complete Paisa Vasool and made to entertain the audience. APD is definitely worth a dekko, just for the outstanding action and comedy, which makes this film, stand out amongst the rest.

Man AWARA PAGAL are pretty consistent to score 2/10, Does not look too encouraging score??Now Radiosargam gives them same calling it CHAL CHALAO!

On the whole, Awara Paagal Deewana has action and comedy for the masses and front-benchers mainly, but lack of an engaging script will tell on its box-office prospects. While it could prove average in a couple of circuits like Bombay-Maharashtra or where it has been sold at reasonable prices, it will not even touch the average mark in the other territories.


REVIEWED BY KOMAL NAHTA


http://www.radiosargam.com/movies/movie ... /a/apd.htm



Edited By arsh on June 21 2002 at 11:14

Here is another bad one from rediff! Khud padh kar dekh lo???

Akshay, Sunil, Aftab's star power fails
Paresh Rawal steals the show
Director Vikram Bhatt graciously accepted responsibility for the debacle of his last film Aap Mujhe Achche Lagne Lage. Looks like he will have to do the same again.



His latest offering, Awara Paagal Deewana, has all it takes to make a successful Hindi potboiler. Huge starcast (Akshay Kumar, Sunil Shetty, Aftab Shivdasani, Paresh Rawal), big budget, foreign locations, stunts, comedy. Yet he fails to deliver that important component: wholesome entertainment.






http://www.rediff.com/entertai/2002/jun/21apd.htm :vsneaky:



Edited By arsh on June 21 2002 at 13:48

well screw rediff, i know how the reviewing system works with them. i know someone who works there. a bad review was expected from them.

and as for komal natha, he can kiss my a**:ffs: he says the action was "composed" well? now what's with that? when he reviewed Lajja, he said anil kapoor was "cute" the man doesn't know how to give a dcent review.

anyway i dont believe any of these reviews, the best review is my own review & look out for it on the 29th



Edited By Khiladi on June 22 2002 at 06:50

Utter madmess
APD is utter nonsense, but with a couple of good songs and some decent comedy, writes Deepa Gahlot
More Reviews
23rd March 1932 Shaheed Aamdani Atthani Kharcha Rupaiya Ab Ke baras Aankhen Asoka Awara Paagal Deewana Badhaai ho Badhaai Bawandar Company Danger 16 December Deham Dil Chahta Hai Durga Filhaal Hum Kisise Se Kum Nahin Hum Tumhare Hain Sanam Indian Kabhi Khushi Kabhie Gham Kitne Door Kitne Pass Koi Mere Dil Se Poochhe Lal Salaam Mere Yaar Ki Shadi Hai Na Tum Jaano Na Hum Kranti Kya Yehi Pyaar Hai Lagaan Maa Tujhhe Salaam Mitr - My Friend Monsoon Wedding Pitaah Pyaar Deewana Hota Hai Raaz Shaheed-E-Azam Style The Legend of Bhagat Singh Tumko Na Bhool Payenge Vadh Yeh Mohabbat Hai Yeh Dil Aashiqaana


Producer: Firoz Nadiadwala
Director: Vikram Bhatt
Music: Anu Malik
Cast: Akshay Kumar, Sunil Shetty, Aftab Shivdasani, Paresh Rawal, Johny Lever, Rahul Dev, Preeti Jhangiani, Amrita Arora, Aarti Chabria



This is the kind of film that is built around ‘items’. The filmmakers probably liked stunts in The Matrix, dance numbers from various music videos, some comic scenes from certain other films, and thought why not weave a film around these.


They then picked the plot of The Whole Nine Yards, gave it to writers Mangesh Kulkarni and Anand Vardhan to hack it into unrecognisable shape, got Neeraj Vora to write Hera Pheri kind of one-liners, and came up with a bunch of totally despicable characters.


Unfortunately, our audiences are pleased with so little, that the film has chances of doing well at the box-office simply because it is different from the family dramas and Bhagat Singhs that have been pouring out of the Bollywood cauldron this year.


A dying don (Om Puri in a hilarious guest appearance) reveals that he has a huge fortune in diamonds in a New York vault. To get it, his son Vikrant (Rahul Dev), daughter (Preeti Jhangiani) and son-in-law Guru (Akshay Kumar) need to jointly sign certain documents.


Guru escapes to America when Vikrant tries to frame him in a political murder. He takes up a place next door to a hen-pecked dentist Anmol (Aftab Shivdasani) and his equally hen-pecked father-in-law Manilal (Paresh Rawal).



Anmol and Manilal’s domineering wives (Amrita Arora, Supriya) send the men to India to inform Vikrant of Guru’s whereabouts and collect the bounty on his head (Why? No phone?). In India, the two bumbling idiots get stuck with Yeda Anna (Sunil Shetty) and his sidekick Chhota Chhatri (Johnny Lever), who come along with them to New York to keep an eye on Guru.


Meanwhile, Guru has attracted the amorous attentions of Anmol’s skimpily clad secretary Tina (Aarti Chabria), Anmol has fallen for Guru’s wife and Yeda for Anmol’s wife. That’s a new one for Hindi films, though it is made clear that both marriages are unconsummated.


Awara Paagal Deewana is a totally brainless caper put together by the fight masters, a choreographer and Paresh Rawal. God knows what director Vikram Bhatt did. Nothing that happens in the film has a plausible reason or logic. Comedy tracks are built around Manilal and Yeda’s forgetfulness, and Chhatri’s stutter.


Not that the others in the film are any saner. Long fight sequences with Matrix-like wire work, slow motion back flips and gravity-defying mid-air spins are pushed in, even when everybody is armed with the best weaponry. A lavish climax with all manner of automobiles clanging and crashing around is orchestrated in Muscat for no reason other than that the producer had money to blow up.


If at all this slapdash enterprise has small pockets of entertainment, it is entirely due to the efforts of Paresh Rawal, Aftab Shivdasani and Johnny Lever, who infect the film with their fevered enthusiasm; the other actors have no scope to perform. Those who haven’t seen Hollywood films, might also be impressed with the fight sequences. A couple of songs (Anu Malik) are choreographed with flair (Ahmed Khan).


Technically, the film is fine. All it lacks is a mind and heart.