Cheeni Kum: Masala Zyada
Amitabh Bachchan and tabu in Chinee Kum
I’ve no doubt Chinee Kum is a funny film but more by design not default, however I won’t recommend this movie to anyone I care for. The irritation it causes in-between the hauls of laughter is too big a price to pay for it.
However, I would think twice before calling it a bad film despite the fact it could well fit into that category. Why, because behind the screen the desperation to turn every cinematic cliché upside down is clearly visible. Just to count a few, a platonic love affair between a kid and 64 years old man. The eight year old kid’s fascination to watch “A” rated movies. And not to mention the wise-kid, been there, done that sort. The twisted expression of affection between a mother and her son. The last but not the least the love affair between a 34 years old unmarried woman and a 64 years bachelor.
What made me laugh in Chinee Kum was certainly the dialogues. They came impromptu, were flippant and quite often gave a damn to Bollywood tradition of refrained expression of: desire to have sex, making fun of physical features (like ugly teeth), respect to parents, a child watching A-rated films (like Kill Bill!!!).
The comedy of Chinee Kum was mostly dialogue driven. And something that I hold against the film are the dialogues. Every character seemed to talk the same lingo and their sense of humor seemed irritatingly identical. Characters were given names based on their certain characteristics, like Ghas-Phoos, Tangdi Kebab, Chatri and colgate. All of them expressed their affection in a dispassionate way, all the while trying to cause laughter rather than expressing what they feel. A teasingly teenager expression of warmth.
While the dialogue faltered to keep in pace with maturity of theme the film seemingly attempted to deal with, the few cinematic moments the director tried building ended up being off-putting. Like the scene where Amitabh surrounded by eve teasers of Delhi screams almost like his poster in Deewar. Similarly in the scene at Qutub Meenar where he again after hearing the message of “Sexy‘s” death starts running from pillar to pillar, looks obscene.
I’ve my reservations against calling Cheeni Kum even a bold attempt. Something I won’t like to go back to before forming an opinion. Its experimentations are juvenile and treatment hollow. It’s like a high school comedy played by a star cast. A film that probably demanded depth and dexterity on the filmmaker’s part, is not even good enough for a good laugh.
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