Generally, a film designed as the launch vehicle for a new face always happens to be a love story. But romance is merely one chapter in MILEY NAA MILEY HUM. It’s all about a son’s tryst to bring his estranged parents together, in this case. Besides, writer-director Tanveer Khan integrates a sport [tennis] in the plotline, which, frankly, sets the film apart from the customary prem kahanis.
MILEY NAA MILEY HUM may not be the most engaging movie, but it has moments that tick. And it is these moments that elevate it to the watchable movie-going experience. The portions between the estranged parents [Kabir Bedi, Poonam Dhillon] hold your attention, while the under-nourished romantic track and a predictable climax [why do all films depicting a sport — PATIALA HOUSE, SPEEDY SINGHS and now this — have a happy reunion on the pitch/field?] are a compromise, from the writing point of view.
Chirag [Chirag Paswan] comes from a broken family. His father, Siddharth [Kabir Bedi], a vineyard owner and mother Shalini [Poonam Dhillon], a business magnate, had parted ways when he was a kid. Chirag’s heartfelt desire is to bring his parents together. Now an adult, Chirag continues to live one month with his father and one month with his mother just to make them realize the pain he goes through.
Shalini wants Chirag to get married to Kamiah [Sagarika Ghatge], while Siddharth wants Chirag to settle down with Manjeet [Neeru Bajwa], his friend’s [Dalip Tahil] daughter. To get out of this sticky situation, Chirag tells his parents that he loves somebody and randomly points out at a model on an advertising hoarding. The model happens to be Anishka [Kangna Ranaut], who has no clue who Chirag is.
Both Siddharth and Shalini trace Anishka and convince her, in their own way, to let go off Chirag. In the meanwhile, Chirag offers Anishka a deal she can’t refuse.
The plot may not be novel or inventive, but the film unfolds briskly and has a consistent tone. The film works because the director doesn’t manipulate us with unnecessary rona-dhona [a norm in movies that focus on warring parents] and even the sub-plots with Sagarika and Neeru get over before the viewer feels exhausted.
Like I pointed out earlier, the romance between Chirag and Kangna could’ve been handled with a lot more care. The climax too could’ve made an impact, although the scene when the parents wave out to their son is indeed touching. Sajid-Wajid’s music is easy on the ears. Baba Azmi’s cinematography captures the vineyard beautifully.
Of the cast, Chirag grabs your attention with his piercing eyes. He has screen presence and can do with that extra polish in acting. However, in view of the fact that this is his maiden attempt at movies, he does a fine job. Kangna is, as always, dependable, but why is she wearing minimal or no makeup in films these days? Earlier RASCALS and now MILEY NAA MILEY HUM… the ‘natural’ look doesn’t work with moviegoers in India, who like to see their fav actors at their glamorous best. Especially in this case, when she’s enacting the role of a model.
Both Kabir Bedi and Poonam Dhillon fill the spaces well. In fact, their sequences are well penned and well enacted too. Sagarika looks alluring, while Neeru is noticeable in a brief role. Kunal Kumar is proficient. Dalip Tahil and Suresh Menon are as usual. Shweta Tiwari dances well in the item song.
On the whole, MILEY NAA MILEY HUM is an absorbing fare with decent merits. A light-hearted entertainer that’s an easy watch.
2.5 out of 5
Review By Taran Adarsh
Source by :http://www.bollywoodhungama.com
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