Satte Pe Satta (1982): Seven Brides for Seven Bhais + a hitman and a nonparalyzed paraplegic

Kickin' it a little old school this time with our first full pre-1990s Hindi film. :)

Satte Pe Satta (1982):

In the Bollywood take on the classic Hollywood musical Seven Brides for Seven Brothers (1954), the seven Anand brothers, named in order for the days of the week, live in a large farmhouse and, devoid of human contact, grow up somewhat animally, led by oldest brother Ravi (Amitabh Bachchan, whose, side note, wax figure was recently hugged by certain persons :D). In town, Ravi falls in love with the nurse Indu (Hema Malini) and marries her, bringing her back to tame the wild mess that is his brothers – without telling Indu he has six brothers, of course. After the shock, Indu goes about civilizing them, and the remaining six brothers meet and fall for a group of six women, who are caring for Seema Singh, a cripple about to inherit a large sum of money on her 21st birthday. This subsequently gets the poor Anands mixed up in Seema’s uncle’s plan to kill her and take the inheritance for himself.

 

Well, first off, let me say that I came into this film with high expectations because Seven Brides for Seven Brothers is one of my favorite movies of all time, and I usually love to see how things get adapted and changed for a Hindi audience. I gave a happy shriek when I found out the two were combined into Satte Pe Satta.

Ultimately, I had mixed feelings about the adaptation. Some of it made sense to me; some of it didn’t.

For the most part, the plot of the first half and even a decent dose of the second is lifted straight out of Seven Brides without a lick of adaptation unless you count dialogue shifting languages. But of course, there are some changes.

A change for the better is the way that Ravi and Indu fall in love, as opposed to Adam Pontipee and Milly in the original: In Seven Brides, Adam goes to town to “get him a wife” because the farmhouse needs a little TLC from a woman. While grabbing lunch, he falls for Milly’s cooking and nerve (in the way that she deals with customers) and makes her a proposal that she takes right away to get away from everything. The degree of misogyny in this has always struck me, and in Satte Pe Satte, it’s somewhat rectified: Ravi falls in love with Indu after a case of mistaken identity leads to him receiving a tight slap to the face. Despite Ravi’s over-the-top attempts to win her over, Indu remains strong and aloof for a long time before falling for him.

Not even a man faking a suicide attempt and a head injury can inspire Indu to fall in love.

But AB Sr. Ravi looking like this can. :)

A change that is maybe borderline is the addition of the Seema storyline, which is a wholly Bollywood addition. At times it feels like a valid addition, but at others it feels like an INSANE completely random greed/murder plot that has absolutely nothing to do with a woman’s attempt to civilize seven brutish and crude but dancing and singing brothers. I mean honestly, who the heck thought of putting a hitman in a musical?

Overall, I think I have mixed feelings about this one mostly because it introduces my least favorite plot device of all time: look-alikes. After meeting Ravi, Seema’s uncle Ranjit hires newly out-of-prison hitman Babu to kill Seema because Babu looks JUST like Ravi. Cue a switcheroo, of course.

The two faces of Amitabh Bachchan: Ravi and Babu.

For the most part, sticking to the working formula that is Seven Brides’ plotline is a mark in favor of Satte Pe Satta. But at the same time, the film perhaps goes out of its way to keep the brothers in costumes resembling the attire of the Pontipees. I can’t help but think that farmers in 1980s India weren't wearing the same clothing as redheaded 1850s Oregon farmers.

Wardrobe comparison!

The film’s great omission comes at the end, when the only closure for the brothers having kidnapped seven women turns out to be, well, that they stand on a balcony watching Seema and Babu make up/unite. No families seem to have missed these women, nor do the boyfriends who feuded with the Anands over the girls earlier…

Overall, I enjoyed the film except for those WTH?! murder plot moments and the fact that despite being nearly 30 years after Seven Brides, many aspects are the same quality, and let’s just say I’m definitely looking forward to the remake that’s being launched with Madhuri Dixit and Sanjay Dutt. :)

Twice the Akki: Action Replayy (2010) & Namastey London (2007)

Again with the long time before updating! Sorry. I just completed the equivalent of 8 a.m. to 2 a.m. eight-straight-day copy-editing boot camp. So for the wait, twice the Akki for the price of one:

Action Replayy

Kishen (Akshay Kumar) and Mala (Aishwarya Rai) had an arranged marriage and hate each other. After they fight at their 30th anniversary party, their son Bunty (Aditya Roy Kapoor), who has been running from marriage after seeing his parents’ attitudes, decides to make them fall in love by going back in time with a time machine built by his girlfriend’s grandpa, Anthony Gonsalves (Randhir Kapoor).

Reasons to watch: Retro-ness! Seriously, who doesn’t enjoy a good ’70s slingback every now and then? Despite the fact that Aish only looks the part half the time, you’ve gotta love the blast from the past.

Akshay Kumar is hilarious, as always, even though HIS HAIR IN THIS FILM IS BEYOND ATROCIOUS. Please, please, dearest Akki, never do this to yourself again. Seek to get further from, not closer to, Bobby Deol’s hair catastrophes stylings.

Does this remind anyone of someone?

Maybe THIS catastrophe?

 

Geeky!Akki. It is hilarious, adorable and endearing all wrapped up in one.

Reasons not to watch: The whole premise is a bad take on Back to the Future, and the explanatory parts are too quick and pretty much don’t make sense. So in effect, the film barely, barely makes sense and it has plot holes the size of Mumbai. Like how did Bunty persuade Gonsalves to fix the time machine? How the heck did the guy figure out in weeks how to fix something it took him a lifetime to create before?

Bunty is kinda obnoxious and more than kinda annoying. I feel like a lot of the things he did were unnecessary and too obviously screwed things up more, dragging things out unnecessarily.

Hilarious Akki + annoying kid (Aditya Kapoor).

HOWEVER, Akki is so completely ADORKABLE (yes, that is dorky adorable) in the flashback sections of the film that it makes up for the annoyingness of other persons!

ADORKABLE!

Long story short, probably not worth your time unless you just watch some of the central flashback part for Akki and leave the rest alone.

Namastey London

British Indian brat Jasmeet “Jazz” Malhotra (Katrina Kaif) gives her parents hell by being a British party girl and rejecting all of the nice Indian husbands her father (Rishi Kapoor) tries to pick for her. So daddy and mummy haul her off to India for a visit and while there, get her married to Punjabi farmer Arjun Singh (Akshay Kumar). Jazz pulls a fast one by demanding that they come back to England immediately for the reception, not giving the Indian marriage enough time to be legalized in the U.K. Instead, she announces her engagement to her British boss, Charlie Brown (yes, Charlie Brown – intentionally or ignorantly absurd?). Arjun, in love with bratty Jazz since first sight, is less than willing to give her up.

I came into this one with higher expectations and was sorely, sorely disappointed.

I really and honestly do adore the Akki and Katrina jodi – they’re both the right degree of spazzy and adorable to work! (Even though Akki’s closer to Rishi Kapoor’s age than KK’s.) Also, I love Rishi Kapoor. So much. He should be shown off more in films like this, not kept down to a minimum.

But as much as I love the people in this one, I really didn’t like it. I was pretty OK with it until two-thirds of the way through.

We work so well together.

I felt like it would be interesting to see the marriage of cultures, and the beginning promises to be that. By the end, the film is going out of its way to have all douchey white people. Like to the point of being absurd.

Oh, Akki. How I love thee sometimes.

And the only culturally-mixing couple that actually gets to exist in this film are Jazz’s friend Imran Khan (Upen Patel) (name irony, yes?) and his English girlfriend Susan, and even they don’t really mix cultures but stick to one family. When Imran tells his parents he and Susan are moving in together, Imran’s parents cast him off. When they tell Susan’s parents they want to get married, Susan’s parents demand that Imran renounce Islam and change his name, and from there Imran and Susan leave Susan’s parents and flee back to Imran’s, who magically take him back. (It’s kind of an interesting paradox: Susan’s parents accept Imran in theory and not in practice; Imran’s parents accept Susan in practice and not in theory.)

Then there’s also the fact that after Arjun gives her away Jazz runs out of her wedding with Charlie to catch Arjun and tell him she wants to stay married to him, and she runs out of the church… Scene cut to Jazz and Arjun riding a scooter in Punjab. ?!?!?!??!?! What??! We don’t deserve an explanation of what happens? We don’t get to know if they had an English wedding and another Indian one or what they decide on where to live, work, etc., after the film has tried to be ABOUT this subject.

Somebody has a split-second revelation about being a brat.

Akki also has unexplained dyed hair...?

 

So, in effect: This film about marrying/merging cultures basically doesn’t. Ignoring the failed attempt at that, I suppose it’s a pretty decent Akki/Katrina romance, but nothing more.

Veer-Zaara (2004): Good Effort, So-So Results

A love story between, well, Veer and Zaara.

SPOILER WARNING: I can’t talk about this one without going into plot detail, so read at your own risk.

Veer-Zaara is a love story that transcends the boundaries between India and Pakistan. Indian Air Force pilot Veer Pratap Singh (Shahrukh Khan) meets and falls in love with carefree Pakistani Zaara Haayat Khan (Preity Zinta) when she comes to India to take her beloved Sikh governess’s ashes to the Sutlej River. He then helps Zaara and subsequently invites her to his village, where she meets his mother and father (Amitabh Bachchan and Hema Malini), who have basically built the village. She positively influences girls’ education in the village, and Veer falls in love with her before he takes her to catch her train back to Lahore. At the train station, they encounter Zaara’s fiancé. Despite this and the fact that traveling to Pakistan forfeits his career with the Indian Air Force, Veer goes to Lahore to stop Zaara’s wedding.

Zaara’s fiancé Raza (Manoj Bajpai), chosen by her father as a way to enhance his political standing, has Veer thrown in jail as a traitor and swears him to secrecy on Zaara’s honor. He then has Veer’s bus to India crash, thus spreading the word that Veer has died.

Fast forward 22 years to a sullen, silent, almost insane Veer who has spent most of is life in a Pakistani jail. He meets with an idealistic young lawyer, Saamiya Siddiqui (Rani Mukherjee), who wants to argue his case and free him. He tells her the story of his relationship with Zaara as a flashback, but he requires she not mention Zaara when arguing his case. Saamiya eventually goes to India looking for Veer’s parents and finds instead that Zaara has been living in his parents’ house, teaching the girls of the village after Veer’s parents have died. So devastated about hearing of Veer’s death, Zaara never married Raza and came to the village instead. Saamiya tells her the truth and brings her to testify at Veer’s trial in Pakistan, where they are reunited.

And 22 years later, we are old. Somebody did good makeup.

I think overall, this film’s plot arc is a gorgeous attempt to show love that transcends culture, religion, time and the rather… rocky relationship between India and Pakistan. Despite the fact that I almost feel like the whole plot is invalidated by the fact that both have been alive and well for 22 years, each thinking the other is dead or married… it’s an attempt to show a truly enduring love.

Not my favorite jodi, but they work together all right.

And as with any Yash Chopra film, you know the cinematography is top-knotch and the songs are brilliant.

It’s also always fun to see how Indian movies deal with Pakistan. This one was a mix. It had some really nice Pakistanis like Saamiya and Zaara, but there was also a lot of cruelty in the Pakistani judicial system (Veer’s been mistreated for 22 years without justice before Saamiya comes along). Overall, the Pakistani men seem singularly bad but the women are OK.

I think what may have happened was this film was that it tried to take on too much. The typical family problems, love transcending culture, India-Pakistan relations, justice for prisoners, women's rights, women's education... It gets to be a little overwhelming.

For all of these things, the film gets an A for effort. For how it actually turned out, it gets a B. I think this film is overall pretty good but not great. The scenery was great, the people were mostly great, but overall, I can’t say I was completely wowed. Other than what I just said, I can’t find much else to say other than about the people involved.

Scenery: What an EPIC way to cross a river. I WANT ONE OF THESE.

Seeing AB Sr. and Hema Malini’s “special appearances” was great. AB Sr. (with his ever-atrocious hair) has never not been a plus as far as I’m concerned. ’nuff said.

I love Daddy!Big B. How can you not?

 Preity Zinta’s not exactly my favorite actress. I liked her better in this than anything else I’ve seen her in, but I still wasn’t overly wowed. Sometimes she was sprightly, but sometimes she was just… there. Her playback voice in this film was extremely obnoxious too.

As much as I love Rani Mukherjee (which is like, a lot), I don’t think she filled her role in this one. She plays Saamiya Siddiqui, a female lawyer in Pakistan, struggling to do “meaningful” law work instead of just arguing the cases for money like her former employer Zakir Ahmed (Anupam Kher… also always nice to see him).

But perhaps the best part of this film for me? You should see this coming… SRK! I can’t help it. I’m constantly reminded of how much I love that man. In uniform, with random blond streaks, wearing cowboy boots (<3), old and gray… I love SRK! Pardon picspammage below.

The better question is how much do I love YOU in that uniform. The answer is A LOT.

I couldn't get a good pic of this, but he was wearing cowboy boots. dhaphdafphdafha

I've been told SRK gets better with age. He will be a fiiiine old man.

He also had unexplained blond hair, which was weird but OK.

Vivah (2006): I never expected something so bland from the land of spices

Poonam (Amrita Rao), a middle class girl from Madhupur, and Prem (Shahid Kapoor), youngest son of a wealthy family from Delhi, have an arranged marriage and fall in love with each other during the engagement period (which lasts the entire length of the movie). Yes, the plot of this one really can be summed up in one sentence.

So this film has a sort of independent feel to it that I’m not sure how to take. In purest terms of movemaking quality, it was probably one of the worst quality Hindi films I’ve seen (not the poorest because that’s the film I watched the next night, Mere Baap Pehle Aap, which was by far the worst-quality film I’ve seen ever in any language). Maybe it’s because I’d just recently watched the gorgeousness that is Devdas a few days before, but the quality of the filters and camerawork in Vivah really bothered me.

Even worse than the camera quality, which I guess you adjust to, is the music. A couple of the actual songs were somewhat intriguing, but the background music during scenes, ugh! It was like Tetris was going on in the background or cheap telenovela (soap opera) music. Even when the movie had some quality moments, they were cheapened to soap opera quality with this music. So basically, with the camera angles and the music, the movie becomes a bland blur.

Unfortunately, this adorable picture has more personality and life than the entire film.

To further sink into the blandness, the whole story feels really bland. The first meeting occurs, the arranged engagement happens, the two families bond while spending time together, and then separation as Prem goes back to Delhi and his family business. There’s the typical class conflict of Poonam’s family not matching the wealth of Prem’s, but it’s negligible since Prem’s entire family seems disposed to accept any and everything with open (or extended) arms. Poonam and Prem being separated, there’s some time talking on the phone, briefly being reunited…

It’s all bland. The only hint of spice to this film is the fact that Poonam is an orphan and her “parents” are her aunt and uncle. Her uncle Krishnakant favors her and she’s prettier (and less obnoxious) than her younger sister/cousin Chhoti, and so her aunt majorly resents her. But even that is, to a degree, muted because the aunt just sits around like a bump on a log most of the time looking like an angry toad.

Auntyji does this angry sulking thing during the entire film.

I feel like what happened was that this film was done on the fly with an outline in place of a script. So it’s mostly just “this is the general direction… let’s let the actors take us there.” And this isn’t a good, zingy no-script, off-the-cuff like say Robert Downey Jr.’s improv dialogue in Iron Man, if you’ll pardon an American comparison. Maybe it’s because I’m a writer and a word person, but I feel like I can’t enjoy a film if the dialogue isn’t done well, and this… well, wasn’t really done well. Like I said, I feel like an outline was written rather than a script.

It really is perhaps an actor’s worst nightmare, a true test. And Shahid Kapoor rises to the occasion. As the shy but head-over-heels must-steal-time lover, Shahid is wonderful. And his dialogue is probably the best. It’s true that I adore Shahid and it’s possible my judgment is clouded by the beauty that is his face, but he’s the thing that I feel really makes this movie.

If he rises to the occasion, the also-beautiful Amrita Rao doesn’t; she succumbs to the blandness. Maybe her character was written to be reserved and quiet, a demure blushing bride, but Poonam has ZERO personality. I won’t pass judgment on Amrita and this one may be explained by the bland script, but this was the most boring character ever. The film finally attempts to reach a climax by having the Krishnakants’ house catch fire the day before the wedding. Poonam gets severely burned while saving Chhoti, which of course finally earns her aunt’s respect. In the hospital, I feel like Amrita’s finally given something to work with, and it’s pretty decent. But seriously, it takes getting nearly burnt alive to give this girl some personality? Major flaw.

Pretty, but absolutely no personality.

She gets burned and wakes up with some miniscule bit of personality.

Then, wonder of all wonders, Prem and family show up at the hospital right before Poonam goes into surgery. Despite the fact that the doctor warns that even family might abandon Poonam because she’s so badly burned (everywhere except her perfect face, of course), Prem and crew once again take everything in stride. Prem marries Poonam in the hospital to prove it and takes responsibility for her medical decisions. It all happens just a little too quickly, too.

I felt like Prem ended up being both the man of the relationship (stealing time and glances, being the initiator, etc.) and the woman (caring for her in the hospital, having all the personality, etc.). Basically Shahid Kapoor takes on shouldering the whole weight of the relationship. And I mean, I know Shahid’s got enough gorgeousness for both of them, but come on. He wouldn’t think twice about a woman he doesn’t really know that much and is arranged to marry who just went through severe trauma and is so upset about the way she looks that she even asks him to leave? And when she asks him to see how burned she is, he declines without a thought?

After the fire, Poonam stays nearly completely covered. Not even a burned hand. Considering the "extensiveness" of her burns... That's kind of annoying.

Also, after getting so used to the norm of Bollywood that goes to extreme lengths not to talk about sex, this film actually addresses (somewhat) the complication that a severely damaged body brings to, well, a new husband and wife (they have the wedding ceremony after Poonam’s recovered and on their wedding night, Prem finally “takes his right” to dress her burns himself). I was actually happily surprised that it did.

Even so, that was just about the film’s only pleasant surprise. It wasn’t bad; the whole thing was just supremely bland. (Which actually, I ultimately find hilarious because Vivah resembles viva, the vibrant Spanish word for life.)

Bachna Ae Haseeno (2008): Curse thee, second half!

Bachna Ae Haseeno (2008)

Essentially, this film is a three-part look at different love stories in the life of one guy, Raj Sharma (Ranbir Kapoor), who goes from using and completely wronging the first two to getting wronged by the third and trying to turn himself around at that point. First, you have Mahi (Minissha Lamba), an idealistic Punjabi girl; then Radhika (later Shreya) (Bipasha Basu), a model in Mumbai; and finally Gayatri (Deepika Padukone), an Indian student in Australia.

Even though Ranbir Kapoor plays a complete douche in this film, it’s hard not to love him. That man is just way too freaking adorable not to forgive his doucheness (even before he wants you to forgive his doucheness) and love him.

And trust me, there’s a lot to forgive, because he does some really, really terrible things.

In the first storyline, Raj meets Mahi, an idealistic young girl obsessed with DDLJ, on a Eurorail train. From there on, Raj basically apes DDLJ to get with Mahi. As someone who thoroughly adores SRK, I love watching other people imitate his roles, especially Raj from DDLJ (although watching people do Rahul from K2H2 is also a fave), and I’m thinking of even dedicating a whole gallery to these imitations.

Ranbir doing Raj is hilarious awesomeness. (It’s also funny to me on another level because Ranbir’s nose reminds me of SRK’s.) But even though it’s hilarious awesomeness, he’s doing it for jerkish reasons, and you can’t help but feel bad for the girl – because who could resist Ranbir Kapoor as Raj?

What woman in her right mind could resist this man?

 

But just wait, it gets worse. Then Raj moves to Mumbai, where he meets Radhika, an aspiring model, who subsequently becomes his live-in girlfriend for something crazy like three years. Then Raj gets a job offer to go to Australia, which he thinks will put an immediate stop to the relationship. To his surprise (and mine), Radhika immediately starts making plans for their wedding so that she can go with him, including setting up a small ceremony at the courthouse. It seems a little contrived to me that after three years as a live-in girlfriend who’s never mentioned marriage, Radhika decides they have to get married just because they’re moving. But then again, maybe that’s just me.

After trying to indirectly weasel his way out of the wedding in a hundred different ways, Raj ends up deserting Radhika without a word and going straight to the airport. I think the scene of her sitting on the courthouse steps in her wedding dress and mehndi while the rain pours down on her… One of the saddest things I’ve ever seen. (Not necessarily in the cripplingly depressing way that Devdas is, but in the “oh, God, that’s so horrible, I would freaking kill that dude!” kind of way.)

Left at the altar (or registrar's office) by that adorable dork above. SO SAD.

 I can’t say I’m much of a fan of Bipasha in this film, but that scene was completely brilliant. If a character I haven’t particularly cared for during most of her part in the film can bring me to tears in one scene… You know it’s brilliant.

And that scene made me want to KILL Raj, as said before.

That’s probably why once he gets to Australia and actually falls in love with hard-working Indian student Gayatri only to propose and be completely shot down… You feel a sense of satisfaction because Raj has finally gotten what he deserves. It also helps that it comes from a woman who knows what she wants – a career, not to be tied down, so on – and is turning him down for personal nondouchey reasons.

You, master of heartbreak, should have known better than to fall in love.

And yet you can’t help but feel bad for Raj because, well, he has actually fallen in love for the first time (albeit kind of dumbly since Gayatri told him not to) and, well, it’s Ranbir and you love him anyway. Up to this point, I think the film was great. You had great acting and got to watch a real pain in the you-know-what get his just desserts.

And then finally, Raj gets it and realizes what a douche he’s been to other people and how they feel. So he sets off on a quest back to India to make things right. Even that is great, in theory. The film had a pretty unique and valid premise in a changed man looking for redemption by trying to make old wrongs right in love.

In practice, the Mahi closure was the only one that worked for me. When Raj gets around to Radhika-turned-Shreya, now a famous supermodel, it really falls apart. For her “forgiveness,” she makes him work like a dog as her personal assistant, which he agrees too. Finally, after months with no break, she tells him how horrible she felt waiting for him to come and marry her and refuses to accept his apologies despite the months of slaving. THEN, after absolutely no previous hint of breakdown or giving in, she shows up at the airport to make up.

Forced much? It really didn’t work for me there.

Not buying this brand of forgiveness.

 

After this downward slump, we get the epitome of cop-out endings. Raj returns to Australia to find that Gayatri has been writing him emotional letters apologizing pretty much every day since he’s been gone. So basically after being resolved not to get married and be tied down, Gayatri decides right after Raj leaves that she actually loves him and so goes to write a letter and stick it under his door every day? When did such a strong woman suddenly become so pathetic? So quickly? And yes, she was probably wrong to discard him out of hand, but since when was wanting her independence so wrong? I felt like the apologies were too one-sided when she really didn’t have that much to apologize for.

Oh, hai, you. I'm going to meet you after six months of leaving love letters on your doorstep and cry...

And forget all my misgivings and independence awfully fast...

Then kiss you (yes, kiss you) and agree to marry you.

 

Basically, this movie starts out great and they give some great potential for strong female characters, then cop out at the end. Radhika/Shreya keeps a certain level of her power because as she tells Raj, she puts on Shreya’s (pardon my language but there really is no other term) bitchy diva, “I am in charge” attitude to keep people at a distance and keep from being hurt and even after she apologizes, the attitude is still there for the public at large. But at the same time, a woman who was resolute against forgiving the man who left her at the altar… melts. Too quickly. And Gayatri’s complete reversal is an utter cop-out. There is absolutely no other explanation. A woman intent on independence and her own goals suddenly decides, eh, Raj is more important. Ultimate, ultimate death blow to what could have been a fantastic character.

So if you can handle not finishing it (I know a lot of people can’t; sadly, Papaya and Kiwi are such people), I’d only watch this film up to intermission and make up your own ending from there.

7 Khoon Maaf.

I always have to do these blogs right after the movie, or else I forget, this is part of the reason my writing is a tad screwy, lol.

  Okay, so, I went into this movie knowing it had a bunch of bad reviews and my fellow fruits (Papaya y Mango) wouldn't watch this with me. I was kind of scared watching it by myself, because I didn't know if it would be sad or what not. So as I ventured on my quest to watching an uncertain film....... I found it decent. I gave it 3 stars on Netflix, lol.

  The beginning of this movie was very rough, but it definitely smoothed out towards the end. Maybe it was intentional? To make you feel what she was feeling? Maybe? No? I don't know, just a thought. There were parts in the beginning that I wasn't sure quite belonged in the movie, maybe because I watched the first 20 minutes and had to leave? Not sure. I came back to it of course. The sets were beautiful, and I think the movie carried out very well.

  I tried keeping track of these husbands, it was hard. I loved but hated John Abraham's part in the movie. Loved: that he was truly in character. Hated: He did not look his best :P. He was hilarious though, scenes with him.... were the funniest parts. I have to put screen caps. Irrfan Khan's role scared me a bit, that's really all I'm going to say, if you saw it you should understand. To say the least I was highly surprised that she then married Russian, I've honestly never seen Russians in an Indian film.

  So overall, it was better than expected. I'm not like, "You HAVE to see this movie!", but I wouldn't discourage it either. I think I might even find it funnier the second time, who's to know?

Yes, That is John Abraham in a nightgown. (the only full length clear shot I could get.) (Oh, and these were screen capped from Netflix, that's why it's not the best quality and why it has captions)

Yeahhhhhhhh LOLOLOLOLOLOL