The film clearly dumbed down Rain Woman’s addiction to anti-depressant pills – a braver film would’ve shown her as a drug abuser. Some might point out there’s a dash of Gori Tere Pyaar Me thrown in Hasee Toh Phasee. In the finale, Hasee Toh Phasee does take an arguably overwrought, melodramatic turn. Credit goes to Matthew for somehow managing to make him tolerable rather than infuriating. He also seems to be stuck with the frightfully untalented Sidharth Malhotra, who exudes very little charm and maintains precisely one expression throughout the film. In an effort to be more ‘commercial’, Matthew seems to be stuck with some agonizingly uninteresting songs that interrupt the flow of the film (he pushes most of them to the backdrop of a montage). The love story and the offbeat banter between the two leads are reminiscent of Garden State in both tone and treatment.īut it’s not all smooth sailing. He tackles the drama by neatly tying all the strands up in the end. Matthew tackles comedic scenes with refreshing restraint, steering clear of the familiar ‘comedy sounds’ and reaction shots commonly used to provoke laughter in audiences. There is also a lot of dysfunctional baggage between her and her family, all of which made me realize Matthew is trying to change how the conventional idea are played out in commercial Bollywood space. Rain Woman has some sinister Chinese connection, and seems to be an addict and a thief. With this familiar (and obviously old school) concept laid out, director Vinil Matthew and his writer Harshavardhan Kulkarni try to infuse it with creativity.
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January 2023
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