He creates a lather of lewd lines for three grownup men. Milap Jhaveri's dialogues are more foamy than funny. The production values, including the music (Anand Raj Anand) and cinematography (Mazhar Kamran) are just about serviceable. Chopra's "Pati Patni Aur Who" and Basu Chaterjee's "Shaukeen" romanced the raunchy, but without a cyclone of lewd dialogues that seem to be an inherent part of "Masti". Naughty premises about men with roving eyes aren't strange to mainstream Hindi cinema. Indra Kumar swings both ways without creating a swinging comedy. Throughout the partially amusing sex comedy you get a feeling of watching a Gujarati sex comedy and a West End porno play.
His track with 'patient' Rakhi Sawant, replete with cleavage jokes, ends with the 'lady' turning out to be a transvestite. Like the two earlier films, Ritesh is an oppressed dentist. Ritesh's choppy relationship with his wife (Genelia) and mother-in-law Archana Puransingh is lifted straight from Vikram Bhatt's "Awaara Paagal Deewana", which in turn was lifted from Hollywood's "The Whole Nine Yards". If you peer really close at the mirth-worth of "Masti", you'll see elements from several other comedies. The ongoing mockery of Satish Shah's homophobic character by Aftab and Ritesh is inspired by Shah Rukh and Saif in "Kal Ho Na Ho", while their names Amar and Prem are not so much a tribute to the Rajesh Khanna romantic classic as Raj Kumar Santoshi's slapstick bonanza "Andaz Apna Apna" where Aamir and Salman were named Amar and Prem. Indra Kumar seems stuck between the traditional way of doing a sex comedy and the more upmarket trendy nudge-nudge-wink-wink style. There're two highly unnecessary and prolonged jokes about Satish Shah, Ritesh and Aftab. Specially over-the-top and elongated are the gay jokes.
#MOVI MASHTI FULL#
Unfortunately, Indra Kumar's Gujarati brand of satire - on full display in his earlier films like "Ishq" - when combined with Milap Jhaveri's urbane boys' backroom chortles yields what can only be branded a pandemonium of precocity and perversity. The actors give their roles a certain zany twist, which goes a long way in preventing the satire from falling apart under the pressure of spatial and time-related excesses.
Misogyny, homophobic and sexist jokes abound.Īnd if you thought upmarket actors were above double-meaning jokes, then wait till you hear Vivek Oberoi and Ajay Devgan comparing wives and girlfriends to home cooked food and biryani.īut hey, it's all in fun! And our three principal stars Meet (Vivek), Amar (Ritesh Deshmukh) and Prem (Aftab Shivdasani) seem to be full of the fun factor. And while their wives stay at home, skirt chasing is their game. Now it's time to tell you that marriages are for keeps.' A "Dil Chahta Hai" male-bonding fable with loads of double-meaning, jokes, provocation and finally a neatly "conservative" ending that says, 'Hey guys, fun done, extramarital peccadilloes over.
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