Deols chemistry works in Yamla, Pagla, Deewana

New Delhi: They last came together for emotional drama `Apne`  but with `Yamla, Pagla, Deewana`, Deol clan -Dharmendra, Sunny and Bobby – is out to have fun.

The film is more like a tribute to Deols `Bollywood journey so far (Dharmendra celebrates his 50-years in cinema with this film) and director Sameer Karnik leaves no opportunity to play up to the trio`s image in public and he succeeds mostly.

Obviously, it is not only the title that is inspired from Dharmendra`s 1975 film `Pratiggya`. Karnik relies on the 70`s lost and found formula for the basic plot but the references don`t end here. Dharmendra`s old films including iconic `Sholay`  have inspired certain scenes, Sunny`s `Gadar`  act also gets a mention.

While most of the scenes, despite being nonsensical manage to make one laugh, things get over-the-top after a point. The influence of `Dabangg` is quite visible in two forced desi style item songs `Tinku jiya`  and another one, which are a big problem with the movie. Music can help elevate a story but bad music and a weak script don`t help each other much.

Sunny Deol plays an NRI, Paramveer, who leaves his white wife, two very Punjabi kids and mother, to find his lost father and younger brother in Benaras. Dharmendra (Dharam) and Bobby (Gajodhar) are the conmen, who make their living by robbing people off their living.

Quite conveniently, the first person that Sunny finds in Benaras is his lost brother, who fools him into exchanging his dollars for blank notes. Sunny bonds with his father and brother by helping them rob others in a la `Bunty Aur Bably`  style. But the action soon shifts to Punjab because Sunny has to help his young brother to win his ladylove Saheba (Kulraj Randhawa) from her five brothers before the final reunion takes place.

Dharmendra`s natural bonding with his sons is the most endearing part of the movie. The trio share an ease, which reflects in their performance as they make fun of their onscreen personas.

Bobby gets maximum screen space and he has performed well but there are scenes where he starts to irritate with his exaggerated expressions and dialogues. His love story with Kulraj is lame and lacks spark. The inclusion of the Punjabi folk lore about `Mirza and Sahib`  has been forced into the narrative.

Sunny has underplayed himself in the movie but it is his performance that makes the film a watchable experience. However, there are a few exaggerations that the director could have avoided. Sunny beating men around him to pulp is believable but Sunny making his enemies run away simply by shouting is difficult to digest even for his die-hard fans.

He, however, looks charming as a henpecked husband and Emma Brown, as his Canadian wife looks quite convincing. Her Punjabi is impeccable and she uses slangs beautifully. Kulraj does not have much to do other than look pretty onscreen and she is good in it.

Anupam Kher is quite entertaining in his act as a sincere but illiterate brother of Kulraj, who remains a bachelor to raise his dear sister.

Nafisa Ali makes a brief appearance as Dharmendra`s wife but somehow the Punjabi act does not suit her personality.

Karnik could have managed an entertaining comedy by removing some of the gags and a bit of editing would have made it more watchable.

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