When
it comes to films you love – and have watched a million times (give or take a
few) – you just can’t be objective. Just as, in my salad days, Amitabh Bachchan
was God. He could do no wrong. And so it is with Andaz Apna Apna. It’s
the only film, other than Sholay, where I can recite the dialogues before the
actor delivers it onscreen. I know who’s going to say what, I know what
the reaction is, and I will still laugh uncontrollably when the scene plays
out. Earlier this month, Andaz Apna Apna - which was a box-office
disaster when it released, but has become a much-beloved cult classic in the
interim with an 8.4 rating on IMDB – turned 25. So let me chronicle my love for
this Archies-inspired comedy.
The
film begins with Amar (Aamir Khan), who, upon meeting his dream heroine (‘Ai-la,
Juhi chawla’; Juhi Chawla, playing herself), begins to dream of living the
good life with her; and Prem (Salman Khan), who (Ooi-ma!) desperately
wants to be a hero, and is being conned out of money by a name-dropping
photographer, Johnny (Mehmood).
Both small-town boys with big dreams, they end
up blowing up their fathers’ (Deven Verma and Jagdeep, respectively) savings
while they run away to Ooty in pursuit of a rich heiress, Raveena Bajaj.
Meeting
each other on the way, Amar, the canny one, puts on a friendly face, while also
conning Prem into paying for everything (Do dost ek pyaali se chai
peeyenge. Is-se dosti badhti hai.)
Meanwhile, Raveena (Raveena Tandon) and
her secretary, Karishma (Karishma Kapoor) have landed in Ooty to find a groom
who will love Raveena for herself. While Amar cons his way into Raveena’s house,
aided and abetted by Anand Akela (Javed Khan), Prem’s suit doesn’t proceed as he
hopes because he keeps getting side-tracked by Karishma’s charms – much to the
amusement of Raveena who finds herself falling for Amar.
What
the boys don’t know is that the the girls have exchanged identities – ‘Raveena
Bajaj’ is actually Karishma Kapoor, while Raveena is really her friend-cum-secretary,
Karishma. Confused much? Well, so are
the boys when they eventually find out, which leads to this plaintive bit: Tum jo ho, woh tum nahin ho. Woh woh hai. Woh
jo hai woh woh nahin hai, woh tum ho. Main jo hoon, main main hoon ya main bhi woh
nahin hain jo main hoon? Main kaun hoon?
If
all this sounds insane and chaotic, it is. The antics were goofy, the fashions
were weird (and hairstyles even weirder), the plot (what there was of it) was farcical, the acting was
over-the-top… Yes, indeed, but it still worked! The reason it did that was
because every single actor who was cast in the film dived joyously into its
totally irreverent premise.
The plot could be summarised in one line: 'Two wastrels chase an heiress in a get-rich-quick scheme, and fall afoul of villains who want a piece of the wealth stakes.' But add identical twins, the villain's dumb sidekicks, a kidnapping sub-plot, a 'hereditary' thief, diamonds, and what you have is comedic gold. And never mind that the heroines weren’t talking to
each other; the director had to keep the
two male leads happy… But on the sets, the director says, the four
rising young actors were all committed to the project.
Aamir honed his talent for comedy but Salman was a revelation. While Aamir took on the manipulative Reggie Mantle persona, Salman played his Archie as both lovable and a bit of a klutz. Don’t
forget the heroines – in screwball comedies, the heroines are usually ditzy,
but it takes a special talent to play the ditz with intelligence.
The girls
cracked it, and how! Where Andaz Apna Apna scored was in not making the
heroines the butt of the jokes. They were equally important to the narrative,
and Karishma, in particular, played her street-smart-but-dumb-blonde schtick
with panache. Raveena had the straightest narrative of the four leads, but
her equally dumb character was laced with self-awareness.
Also, it was
not just the heroes who got wonderful one-liners, so did the villains. The best,
of course, went to ‘Crime Master GoGo’ (Shakti Kapoor), who proudly proclaims ‘Aaya
hoon toh kuch toh lootkar jaaoonga. Khandani chor hoon main, khandaani!’ And
when Bhalla (Shehzad Khan) is trying to poison Raveena with a cold drink, he
claims it’s because it’s ‘Robert’s birthday’. Whereupon the hapless Robert
(Viju Khote) blurts out, “Sir, aapne mujhe bataya nahin ki aaj mera happy
birthday hai…” To which, Bhalla’s acerbic response is, “Happy birthday,
Raabert.” Viju also got to mouth the iconic 'Galti se mishtake ho gaya, boss', a line that became part of cverday vocabulary since the film's release.
Andaz Apna Apna was
that rare comedy – part farce, part slapstick, part situational comedy, part
no-one-knows-what-the-heck-is-happening. But the writing was intelligent, it
was clever and what was most important, the actors had perfect timing. Even the
most-trite lines became giggle-worthy because of the way it was delivered. I dare
you to remain straight-faced when an increasingly-irate Ram Gopal Bajaj (Paresh Rawal) insists
that ‘Main Teja hoon; mark idhar hai!’, much to the bewilderment of the
real Teja, a.k.a. Shyam Gopal Bajaj. Or at the totally nonsensical ‘Yeh
Vasco Da Gama ka gun hai.” To which the response is ‘Kiske mama ke gun
hai?’ And
later, when Amar finds out that Ram Gopal Bajaj has an identical twin, he
snaps: “Saala, waise hi itni pareshania hai Raveena kaun? Karishma kaun? Us
museebat se nikle nahin, ki ab ek nai museebat… Uncle kaun?’
Andaz Apna Apna also
worked because it satirised every single masala trope by cheerfully –
and joyfully – adopting them. Right from the beginning ‘dream sequence’ to switching identities, to identical twins and a stalking-as-wooing song (with
its very unexpected climax), we chortled our way through all of them. Never had
there been such a loving ode to the very foundations of our commercial cinema as
this one. Rajkumar Santoshi even played the 'vidhwa maa andhi bahen' trope for laughs.
Old songs put in an intelligent appearance. When
Amar, having failed to put Prem behind bars, is jailed instead, the song that
plays in the background is ‘Papa kehte hain.'
When,
later, he discovers that ‘Raveena’ is not actually Raveena but Karishma, we get
‘Kya se kya ho gaya bewafaa pyar mein’ even as poor Amar is left to wash the dishes. Prem, on the other hand, is humming Dekha hai pehli baar when
he’s thinking of confessing his love to Raveena. The ‘new’ songs were old as gold,
even channelling OP Nayyar and his famed tonga beats, but the film never quite
lost sight of the fact that everything, including the songs could be mined for
comedy.
What’s
more, while you can just enjoy the sheer screwball comedy this film is, your
enjoyment of the film increases if you’ve been an avid masala film watcher
throughout. ‘Raabert’ is a throwback to yesteryear villain, Ajit’s enunciation
of ‘Robert’. Shehzad Khan, Ajit’s son, mimicked his famous father’s
inflections and dialogue delivery perfectly. Jagdeep plays a character called ‘Bankeylal
Bhopali’ – he'd earlier played the iconic ‘Soorma Bhopali’ in Sholay. Mehmood’s
character, ‘Johnny’ is supposedly the proprietor of ‘Wah Wah Productions’ – the
name of the production house he’s pitching to his father in Pyaar Kiye Jaa.
It
doesn’t end there. Witness the scene where Akela asks Prem if he’s seen ‘Sholay’
– Amar caustically retorts, ‘Uske baap ne likha hai.” (Salman
Khan’s father, Salim Khan is the co-writer of Sholay.) In fact, the director
(who’s also the co-writer) laughs at himself – when the dictatorial father
(Paresh Rawal) hears the boys’ names, he snaps, “Amar aur Prem, Amar Prem. Naam sunte hi
main samajh gaya tha ke tum dono awwal darje ke filmi aur awaare ladke
ho." Or when Teja (Paresh Rawal, again) reminisces about
his dreams of becoming 'Bread ka Badshah,
Omelette ka raja', he ends it with ‘Hamara Bajaj!’
which was the jingle for Bajaj scooters at the time.
Comedy
is perhaps the hardest of all genres to get right, but Rajkumar Santoshi not
only succeeded in keeping the audience engaged but did so without diluting the
genre with double entendre. Or even drama. Even the ‘action’ scenes are a hoot.
In great screwball tradition, everyone who’s anyone in the film shows up in the
climax.
And the one scene where Prem and Crime Master GoGo do a shadow boxing sequence
is outright hilarious.
I
can proudly say that I’ve turned my older boy into an Andaz Apna Apna junkie.
Perhaps it’s time for a re-watch. After all, there’s always an occasion for good,
clean fun and belly-aching laughter. Besides, I've a younger son to indoctrinate.
No comments:
Post a Comment