Loosely inspired by the Hollywood film WEEKEND AT BERNIES, the movie revolves around Johnny (Dutt) and Jimmy (Khan) who are both petty thieves. Johnny specialises in swindling expensive watches while Jimmy is an expert at robbing houses in the dark. The two are at constant loggerheads with each other, and often run in to each other behind bars. Outside a bar one night, they encounter Guptaji [Avtar Gill], who has been killed by the villains [Shakti Kapoor, Mukesh Rishi, Aasif Sheikh and Shiva]. Before dying, he blurts out the words Roxy Hotel, accounts department to Johny and Jimmy. Both Johny and Jimmy land up at the hotel giving false stories to Balram [Shakti Kapoor] and get employed as stewards. However things take a twist when Balram is murdered and Jimmy and Johnny are forced to keep him alive in the world’s eyes. As Balram was the only one who knew where a large some of money has been hidden, Johnny and Jimmy are forced to keep him alive in the worlds eyes. They enlist the help of a “tantrik” who says that the dead body of Balram will only react to a Mauritian song.
How everyone gets to the treasure with the help of the dead body forms the crux of the film.
Writer Yunus Sajawal has written the story with the sole intention of making a completely mindless comedy where the viewer can switch off their brains and enjoy an extremely stupid yet somewhat amusing ride. The plot of WEEKEND AT BERNIES always did have immense potential for a remake, and the story idea has been utilized well here in context of the story though it does require the audience to completely suspend their belief as a corpse starts reacting to Mauratian music after being bought back to “life” by a “tantrik”?!?!
Ajay Chandok makes an OK debut as a director. I’m pretty sure I would’ve enjoyed this movie a lot more had it released when it was supposed, though what surprised me the most is the film after all these years still proves to be not be as bad as some of the newer films being released (SHAKALAKA BOOM BOOM, GOOD BOY BAD BOY). He is comfortable within the realms of the genre which is evident from the start and shows ample promise in some of the comic sequences.
The lifeline of the movie is no doubt its performances, mainly Sanjay Dutt. Now don’t get me wrong, this isn’t a LAGE RAHO MUNNABHAI, ZINDA or even SHOOTOUT AT LOKANDHWALA as far as acting goes. The movie is infact closer to Sanjay Dutt’s performances in David Dhawan’s HASEENA MAAN JAYEGI, JODI NO.1 and EK AUR EK GYAARAH but Dutt does manage to spring a surprise with his superlative comic timing. Usually when a movie gets stale, most of the jokes/gags get stale too and this is the case with NEHLLE PE DEHLLA too for the most, however there are certain scenes which are completely elevated by Dutt’s unbeatable comic timing, delivery and facials. Just witness the scene Dutt has with the little kid who keeps crying “mera baap marr gaya”. Yes the comedy is crude, but it’s so stupid that you can’t help but laugh at times(sums up most of the movie) and Dutt’s ability to infuse life and enthusiasm to the proceedings salvages the film from being a lot worse, and Dutt fans shouldn’t miss this one.
Saifali Khan is OK in his part. He had done countless “buddy” movies when NEHLLA PE DEHLLA was being made, and he does a re-run of his “anari” role here again except the “khiladi” here is Dutt and not Kumar. He comes across as raw and seems hindered by his accent and voice in parts, while manages to hit the right notes in others with his immaculate facial expressions. There is not a shred of about that Saif is fantastic at comedy, however NEHLLE PE DEHLLA doesn’t really provide him the platform to shine, specially not in front of Dutt who towers and dominates.
The girls here don’t have much to do except look pretty, smile and dance, and they do that just fine. Bipasha Basu looks svelte and sexy as hell. Kim Sharma is annoying in parts and tolerable in other parts, though her pairing with Saif felt a bit strange at times as the two almost look like brother and sister in parts!
The movie in many ways is a tribute to Shakti Kapoor. It would be very easy to dismiss Kapoor’s performance here, but those who have followed Shakti Kapoor’s career through the 80’’s and 90’s may find a strange sense of nostalgia while watching him here as this is a performance that pretty much embellishes everything Shakti Kapoor stood for in the 80’s. He manages to add his own touch in the movie as a corpse, and without uttering a word in the second half makes his presence more than felt.
Technically the movie is OK. Not the best, though it could’ve looked a lot staler. The songs in the movie are enjoyable at the time, but forgettable once the movie concludes.
All up NEHLLE PE DEHLLA is a stale venture which manages to be surprisingly watchable for it’s nostalgic value as well as a well acted comic performance by Dutt.
Final Rating: * * ¼
