Director: Anurag Singh Cast: Rani Mukherjee, Shahid Kapoor
Releasing date: 18 sep 2009
Rating: 
DIL BOLE HADIPPA HINDI MOVIE REVIEW:
Story and Movie Analysis:
Dil Bole Hadippa is a celebration of the never-say-die spirit of Yash Raj Films. For years they have epitomized bhartiya sanskriti amidst Punjab’s sarso-de-khet which they continue to do even today without much advancement. This time they seek faint inspiration from the Hollywood flick She’s The Man (2006), replace the soccer with cricket, liberally regurgitate plotlines from their recent library of films and deck it up with patriotic sentiments.
The scene opens in a Veer-Zaara village verandah where Veera (Rani Mukherjee) scores six sixers in an over and is still in the Bunty aur Babli hangover. Faking fractured English, she attempts to be as bright and bubbly as her pink patiala suits.
Every Independence Day, the village participates in an Indo-Pak cricket match contesting players from across the boundary. After losing consecutively for years, the team head (Anupam Kher) calls upon his son Rohan (Shahid Kapoor) who plays county cricket in London. Rohan decides to form a new team and announces auditions.
The script resorts to the moustache mantra from Rab Ne Bana Di Jodi when Veera intends to gain a new identity. She doesn’t just switches character but also gender, posing as a boy to get entry into the cricket team. Nobody has second thoughts about her voluptuous form or vocal chords. It’s another story altogether that it takes the hero less than a second to distinguish Veer from Veera when her coloured lens falls off in the climax. What an eye for detailing!
Chak De India is revisited as Rohan coaches the village team for victory. Amidst guided tours in sarso ke khet and Punjab da dhaba , the NRI Rohan falls in love with the desi Veera. Then there are those obligatory and artificial tributes to their own DDLJ and its predecessor Hum Aapke Hai Kaun , something the Chopras have been repeating in their recent releases. The screenplay also makes way for Baisakhi bhangra and culture lectures until its time for the final match.
Do not expect a Lagaan connect through the cricket as the innings are edited in fast-forward mode. Both, the match and its outcome are straightforwardly predictable. Despite all the conventionalism, trust the climax to have an emotional touch with a lump-in-throat effect in true-blue YRF tradition. Beyond that there is a speech on woman empowerment which also suggests females should play cricket alongside Sachin Tendulkar for the national team. Talk about coed cricket?
The writing by Jaya-Aparajita is predictable from the word Hadippa – the first sound in the film. Sudeep Chatterjee’s cinematography is soothing and Vaibhavi Merchant’s choreography is vivacious. Shahid grooves effortlessly in the title track and Rani oozes enthusiasm in Bhangra Bistar .
Rani Mukherjee comes up with a spirited performance but her mock sob-whine-whimper do not amuse anymore. Also after a point you dislike visualizing the charming actress as the moustached male player. Shahid Kapoor at no point is overshadowed by the immense screen presence of Rani Mukherjee. He is earnest and esp. impressive in his climax outburst in the dressing room. Anupam Kher reprises the regular father he has played in several Yash Raj films. Surprisingly Rakhi Sawant doesn’t go overboard.
The scene opens in a Veer-Zaara village verandah where Veera (Rani Mukherjee) scores six sixers in an over and is still in the Bunty aur Babli hangover. Faking fractured English, she attempts to be as bright and bubbly as her pink patiala suits.
Every Independence Day, the village participates in an Indo-Pak cricket match contesting players from across the boundary. After losing consecutively for years, the team head (Anupam Kher) calls upon his son Rohan (Shahid Kapoor) who plays county cricket in London. Rohan decides to form a new team and announces auditions.
The script resorts to the moustache mantra from Rab Ne Bana Di Jodi when Veera intends to gain a new identity. She doesn’t just switches character but also gender, posing as a boy to get entry into the cricket team. Nobody has second thoughts about her voluptuous form or vocal chords. It’s another story altogether that it takes the hero less than a second to distinguish Veer from Veera when her coloured lens falls off in the climax. What an eye for detailing!
Chak De India is revisited as Rohan coaches the village team for victory. Amidst guided tours in sarso ke khet and Punjab da dhaba , the NRI Rohan falls in love with the desi Veera. Then there are those obligatory and artificial tributes to their own DDLJ and its predecessor Hum Aapke Hai Kaun , something the Chopras have been repeating in their recent releases. The screenplay also makes way for Baisakhi bhangra and culture lectures until its time for the final match.
Do not expect a Lagaan connect through the cricket as the innings are edited in fast-forward mode. Both, the match and its outcome are straightforwardly predictable. Despite all the conventionalism, trust the climax to have an emotional touch with a lump-in-throat effect in true-blue YRF tradition. Beyond that there is a speech on woman empowerment which also suggests females should play cricket alongside Sachin Tendulkar for the national team. Talk about coed cricket?
The writing by Jaya-Aparajita is predictable from the word Hadippa – the first sound in the film. Sudeep Chatterjee’s cinematography is soothing and Vaibhavi Merchant’s choreography is vivacious. Shahid grooves effortlessly in the title track and Rani oozes enthusiasm in Bhangra Bistar .
Rani Mukherjee comes up with a spirited performance but her mock sob-whine-whimper do not amuse anymore. Also after a point you dislike visualizing the charming actress as the moustached male player. Shahid Kapoor at no point is overshadowed by the immense screen presence of Rani Mukherjee. He is earnest and esp. impressive in his climax outburst in the dressing room. Anupam Kher reprises the regular father he has played in several Yash Raj films. Surprisingly Rakhi Sawant doesn’t go overboard.
Final View:
Dil Bole Hadippa comes as another feel ‘good’ film from the Yash Raj banner but off late audiences have upgraded to ‘better’ narratives.
Dil Bole Hadippa comes as another feel ‘good’ film from the Yash Raj banner but off late audiences have upgraded to ‘better’ narratives.
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