Doesn’t matter if we are 25 years late in writing some of these reviews. It is that time of the day when we like to take a trip down the memory lane.
Andaaz Apna Apna (1994)
The epic chuckle revolt movie of Indian cinema that is still adored and viewed by youthful and old right up ’til today. The satire of blunders of Amar (Aamir Khan) and Prem (Salman Khan) both in quest for beguiling Raveena (Tandon) a youthful and wonderful young lady who is searching for a shrewd young fellow to begin to look all starry eyed at and wed. Amar and Prem, the two useful in vain Casanova’s need to make her either one’s wife, for the cash and are at steady pace to exceed the other in winning Raveena’s heart. In the interim, Teja (Rawal) a criminal who just escaped imprison needs to get even with his twin sibling Ram Gopal Bajaj (Rawal) who is additionally the father of Raveena. Alongside his two dumb side kicks, he tries to abduct Raveena. Followed by the appearance of Crime Master Gogo (Shakti Kapoor), a fizzled and dumb criminal who is proceeding with the ‘privately-owned company’s of plundering and pillaging. The exhibitions of all characters and scenes may appear to be to a great degree over-acted however that was pretty much the standard of those days and to some degree the movie gets to be distinctly pleasant just due to the over-the-top acting. The movie plays tributes and jokes about numerous different popular Bollywood movies all through. Interesting and an astonishing anxiety buster that we still cherish.
Hera Pheri (2000)
The epic movie that forever changed the substance of comic drama in Indian film and gave Paresh Rawal’s part a role as the entertaining man that we still cant get over. Ghanshyam Tiwari otherwise known as Shyam (Shetty) has moved to Mumbai city from his town in quest for a specific bank work. His dad, who worked at that very bank, passed away years prior in a fire and was guaranteed remuneration as a vocation. Anuradha Panikar’s (Tabu) father too passed away in a similar way, and is battling against Shyam for a similar occupation since just a single position is empty. Looking for a house to remain in, he meets Baburao Ganpatrao Apte otherwise known as Babu-bhaiya (Rawal), an auto carport proprietor, who consents to keep him gave he pay lease and do the tasks around the house. Raju (Kumar) is another occupant at Baburao’s home and Shyam and Raju begin detesting each other the minute they meet. Raju’s mom lives at a seniority home and he has deceived her that he has a lucrative corporate employment and is developing a sumptuous condo in downtown Mumbai for them to live in. With each of the three hungry to get rich and carry on with a sumptuous life, fortune comes thumping on their entryway, or rather approaching their telephone number. The movie is a major comic epic and Paresh Rawal has put on, what can most likely be named as, the best ever comic execution in Bollywood silver screen. This movie saw every one of the three lead performers getting to be distinctly funny on-screen characters for no less than 10 years down the line and even today. Many have attempted to duplicate the comic drama of blunders yet most have fizzled. An entire giggle revolt and an absolute necessity watch Hera Pheri remains everyone’s favorite
Baray Mian Chote Mian (1998)
Enlivened by the movie, Bad Boys, the movie portrays the jokes of two cops, Pyare Mohan (Govinda) and Arjun Singh (Bachchan). Despite the fact that the two work in a similar division, they scorn each other particularly in light of the fact that Pyare is enamored with Arjun’s sister, Seema (Tandon). An infamous runner, Zorawar (Rawal) trusts in disposing of any observer to his violations and once such guiltless by-stander, Neha (Krishnan) witnesses Zorawar slaughter her companion who was keeping an eye on Zorawar’s exercises. Having gotten away from the grip of Zorawar, Neha escapes to the police and takes the assurance of team Anil and Pyaare. In a parallel plot, two little time convicts, Bade (Bachchan) and Chote (Govinda) escape from jail and begin plundering and looting. They soon find that they look precisely like Anil and Pyaare and begin imitating them further bolstering their good fortune. The movie is a chuckle revolt in the event that you are into Govinda and his sort of amusingness. There are enormous plot escape clauses all around, superfluous tunes and shocking acting all over yet the movie is funny with all credit being given to Govinda and Bachchan. Being the veteran performer that he is, Amitabh Bachchan incredibly pulled off the satire with Govinda and his flighty style effortlessly and never watched strange. Paresh Rawal excessively made one of the best savage reprobates I have likely gone over. His character had a splendid blend of amusingness, savagery and inside and out shrewdness yet was unfortunately lost in the shadow of the lead pair. One of the best Govinda movies and an unquestionable requirement look for religion supporters.
Dil Tou Pagal Hai (1997)
The story is genuinely straightforward, and might be the main thing ailing in the movie. Rahul (Shah Rukh Khan), an executive, begins with depicting another play that his performing group will put on “Maya”, interpreted as “fantasy”. The solitary female artist in his group is Nisha (Karisma Kapoor). Nisha, frantically infatuated with Rahul, once enlightens him regarding her affection. As Rahul begins making this play with Nisha in the number one spot as “Maya”, she gets harmed, and the genuine “Maya”, Pooja (Madhuri Dixit) arrives. Pooja is masterminded to wed Ajay (Akshay Kumar), a businessperson from London. Pooja takes the part as Maya reluctantly. From that point, the story moves to the finale calmly. Shah Rukh Khan commands the movie. His part as Rahul is played valiantly and might merit of a honor. Karisma Kapoor overwhelms her part moreover. Her abilities, flaunted again after Raja Hindustani, may make her a backbone in the film business. Madhuri Dixit, as Pooja, shows off her ability as an on-screen character, and this part may bring her once more into the numero uno spot, as it was left up for snatches on the grounds that numerous huge name female character movies floundered for the current year. The music sounds surprisingly better in the film than on tape. The choreography and specialized parts of the heading amid the tunes flaunt the genuine excellence of Yash Raj Films. Yash Chopra’s bearing anxieties his experience and sensitive treatment of the movie. Numerous different executives decimate movies at their endings, particularly movies with powerless scripts. The discoursed by Aditya Chopra flaunted his young abilities. The treatment of the exchanges by Yash Chopra may improve the discoursed than they really were, yet they functioned admirably with regards to the movie.
So why not ten out of ten focuses? There was something missing from this film. Each time I leave a film feeling exceptional or illuminated, maybe it was the lucky mascot Kajol that was missing! still one of the most watched and appreciated movies of all times.