Exploring the Hilarity of Awara Paagal Deewana: A Bollywood Comedy Classic
A Comedic Journey with Awara Paagal Deewana
What can audiences anticipate from a film that hints at mental chaos right in its title? A wild, eccentric laugh-fest? Absolutely! Vikram Bhatt, who previously delivered a spine-chilling experience with Raaz, presents a clever and largely entertaining adaptation of Jonathan Lynn’s The Whole Nine Yards.
While the original film may not have been remarkable, this Indian version, filled with quirky twists that could perplex even the most skilled contortionist, excels in its sharp writing, impressive production quality, unique action scenes, and stellar performances.
Producer Firoz Nadiadwala, known for his previous hit Hera Pheri featuring much of the same cast, invested significantly to ensure that humor is paired with glamour. Consequently, director Vikram Bhatt shines in this comedic venture, surpassing his earlier horror efforts within the limited budget of Raaz.
Moreover, the film takes bold jabs at the culture of gangsterism, creating a blend that resonates with the spirit of burlesque.
The storyline is a real head-scratcher. Awaara Paagal Deewana humorously explores the underworld. Unlike Dhawan’s poorly utilized cast, the actors in Bhatt’s film truly shine with comedic flair.
Instead of a straightforward adaptation, Bhatt opts to reinvent the original. By taking The Whole Nine Yards, he goes the extra mile to elicit laughter. Akshay Kumar plays the poker-faced, fun-loving gangster Guru, whose malevolent brother-in-law Vikrant (Rahul Dev) has a knack for chaos.
In a humorously executed introduction, Om Puri (unexpectedly out of character as a comical mobster) passes away, leaving his sinister empire to his vengeful son Vikrant and the charming son-in-law Guru. The rivalry between these two characters sets the stage for an exhilarating display of action. The Hong Kong-style sequences, featuring Akshay Kumar soaring, throwing, and flipping through the air, add the perfect counterbalance to the comedy.
Fortunately for Hindi cinema, and the comedy genre, Bhatt skillfully avoids the typical melodrama that often infiltrates Indian comedies. The laughter remains consistent as the narrative ventures into foreign territories, both literally and figuratively.
Set against the backdrop of New York (which occasionally shifts to Newark, justified by the comedic premise), much of the humor unfolds in a charming American suburb. Here, a dentist named Anmol (Aftab Shivdasani), who suffers from an abusive marriage, finds his life unexpectedly exciting when gangster Guru (Akshay Kumar) becomes his neighbor.
Drawing inspiration from Matthew Perry’s character in The Whole Nine Yards, Bhatt constructs a diverse cast, including the beleaguered dentist, his gangster-obsessed nurse (Arati Chabria), his overbearing wife (Amrita Arora), and mother-in-law (Supriya Pilgaonkar). The addition of the dentist’s father-in-law, portrayed by Paresh Rawal, is a brilliant touch absent from the Hollywood original. Rawal steals scenes effortlessly, injecting significant entertainment value into even the most absurd lines.
Dialogue writer Neeraj Vora, another highlight of this comedy, provides Rawal with a treasure trove of humorous lines. As a quirky father-in-law who frequently forgets names, including his own, Rawal is a riot.
While the film is packed with characters, some, like Sunil Shetty and Aftab Shivdasani, have underdeveloped roles. Shetty, who showcased his comedic talent in Yeh Tera Ghar Yeh Mera Ghar, plays a tough goon with enthusiasm, but his character lacks depth. Johnny Lever, as Shetty’s sidekick, adds an extra laugh, proving that an official comedian is unnecessary when the entire cast is enjoying themselves.
Besides Paresh Rawal, Akshay Kumar stands out with a well-defined role as the brooding mobster. The film showcases his talents as a fighter, romantic lead, and comedian. His comedic exchanges, particularly with the lovestruck nurse, are priceless.
However, the film’s comedic tone falters in the second half, where shouting and chaos replace genuine humor. The drawn-out climax in a desert, filled with flashy cars and exaggerated antics, becomes tiresome.
The comedy loses its momentum as it attempts to adhere to the conventional 180-minute runtime. Nevertheless, the humor is enjoyable while it lasts. The production design is visually appealing, with no effort spared to create an optical delight. Pravin Bhatt’s cinematography is conventionally attractive, ensuring the backdrop enhances rather than detracts from the characters. Anu Malik’s music, however, fails to elevate the film’s comedic aspirations. One song, Jisse Hasna Rona Hai, featuring all three lead pairs, is awkwardly executed. Is this a symbolic nod to the film’s erratic tone?
The unpredictable narrative takes characters to distant locations like Muscat and a bullring in Spain. One dreamily shot song featuring Aftab Shivdasani and Amrita Arora in NYC captures the still-standing World Trade Center in the background, reminding us of the importance of laughter in cinema and how rarely Hindi films offer such opportunities.