Katti Batti Movie Review: The Tragic Death of Romantic Comedy

You can also read this review at Mad About Moviez.

I didn’t have much expectations from Katti Batti. The trailers looked somewhat drab, the music – a vital ingredient of any worthwhile Hindi rom-com – was uninspiring, and most annoyingly Kangana Ranaut looked like stretching her ‘Tanu spirit’ beyond the thresholds of predictability and well into the zone of annoyance.

15 minutes into watching the film, almost all of my aforementioned fears came true. One by one. Even though director Nikhil Advani, who seemed to be meandering for over 2 hours, suddenly jumped on to a tragic track towards the end trying to salvage some pride, but alas, it was well and truly late by then. I had already proclaimed ‘Katti’ with Katti Batti.

Nikhil Advani, a man who started his career with the remarkable Kal Ho Na Ho (and continues to live in the shadow of that iconic film), but has gone on to direct duds like Salaam-e-Ishq, Patiala House and most recently Hero, further prolongs his bad run through Katti Batti. The film neither manages to garner the goodwill of a typical rom-com nor does it make you pull out tissue papers through its belated tragic twist. Not just that, Katti Batti also lacks conviction, originality and a proper execution of ideas and ends up being an outright boring film.

Madhav Kabra aka Maddy (Imran Khan) is an architect who is in love with Payal (Kangana Ranaut) from the moment he saw her for the first time in college. The two do not hit it off instantly, largely thanks to Madhav’s creepy, ‘chipku’behavior, but eventually end up being in a live-in relationship for good 5 years. Things change when Payal walks out of relationship one fine day, leaving behind a whining, sobbing Maddy. The entire film revolves around Maddy’s desperate bid to get Payal back into his life while she shrugs off his advances rather heartlessly. A tiny Kal Ho Na Ho meets The Fault in Our Stars kind of twist in the end tells us that Payal does all of this knowingly; deliberately trying to push Maddy out of her life. Why? Because, she has, wait for it, cancer! Sob. Yawn. Sob. Yawn.

Katti Batti suffers from severe identity crisis. It does not know whether it is trying to be a treatise on break-ups and relationship issues, or it is trying to be a cute, little tear-jerker. Needless to say that while trying to be too many things at a time, it ends up being almost nothing. Consider these – the tongue-in-cheek humor and LOLworthy moments, of which we got a glimpse in the trailers, are as scarce in the film as rains are in Rajasthan. Call it smart trailer cutting or a bluff on the part of the makers, Katti Batti does not have humor, light-heartedness that it shamelessly promised. Also, rhe film never really builds up the romance between its lead pair – there is no breezy college dating like 2 States or a cool live-in relationship drama like Salaam Namaste. We are repeatedly told that Maddy and Payal were ‘living together for 5 years’, but we are shown no glimpses of their love, chemistry and camaraderie. As a result, it hardly bothers you when Payal leaves Maddy, or you are further disinterested when you see the later chasing the former to get things back on the track! Phew!

Similarly, the film is also not a definitive take on relationships and strings attached to it. In fact, it ends up projecting its male lead as a sheer loser who runs after the car of his ex-girlfriend like a dog and its female lead as a cruel, chaalu girl who treats men like doormats. Through the film, you feel sorry for the characters as they are poorly written and are projected in an even worse light. By the time the director tries to turn the tables by coming up with the big revelation, you are both fed up and tired by the entire sham of a rom-com that’s dished out in front of you. Maddy and Payal are simply poorly sketched out characters that fail to find any resonance with its audience.

But there are a few bright spots in Katti Batti. And surprisingly, it’s Imran Khan who is shiniest of them all. The actor, who is coming back to the silver screen after a hiatus, is affable and somewhat convincing as Madhav. He does well in the ‘crying scenes’ and you do feel for the poor guy at times, especially that dog-chasing-the-car kind of sequence. Puns and taunts aside, this character lay within the strengths of an actor like Imran Khan, and he does try hard, but is undone by a shoddy script and an even shoddier direction.

On the other hand, Kangana Ranaut replicates her Tanu act (just replace mostly Indian dresses of TWM and TWMR with some weird western outfits) through most of the film. She is predictably ‘free-spirited’, believes in ‘time-pass’ and flashes a packet of condom to a complete stranger. And not to forget, there are some trademark not-so-funny one-liners that ‘establish’ her as a ‘free woman’. But sadly, these repeated theatrics seem as fake as those feminist posts shared by thousands on Facebook every day.

Katti Batti is also let down by a below par support cast that does not have even one actor of caliber. Similarly, Shankar-Ehsaan-Loy’s music is also very average with only ‘Sau Aasoon’ getting registered in your memory. The film’s cinematography is effective while the makers could have definitely chosen a better costume designer for its lead pair.

By the time Katti Batti nears its conclusion, there are some touching scenes of Imran taking care of a cancer-afflicted Kangana, but it comes too late in the day. You feel bored, cheated and tired by then and you simply want to curse Nikhil Advani for making a mess of a film. Yet again. Stay away.

Rating: *1/2 (Poor)

P.S. – Want to know what could be your expression if you still choose to watch this film? Check out Imran Khan’s expressions in the last image of this post.

Delhi Belly is Yummy Shit!

The punch-line of Delhi Belly says ‘Shit Happens’. Very True. Shit has been happening in the name of comedy for too long in Hindi Cinema. So, 'Masters of Laughathons' serve us with some rotten, run-of-the-mill ‘no-brainers’ in the name of comic flicks. We are supposed to leave our brains at home but carry our wallet to the theatre, pay heavily and watch ‘shit’ in the name of comedy. I won't take names here, but biggest of stars, some renowned directors and famed production houses have done this to us again and again. Only the timing of release differs. Some throw shit at you on occasion of Diwali, some prefer Summer Holidays while others wait till Christmas.

In this regard, Delhi Belly is a refreshing shit, I mean change. The film does not take its audiences for granted, there are no ‘forceful’ laugh riots here. Delhi Belly is a fine example of exemplary execution of situational comedy. My first hug goes to the writer of the film Akshat Verma, who has written a very smart yet bizarre script. The scenes, the situations and the characters infuse laughter spontaneously.

All the three male leads are in terrific form. But it is the debutant Kunal Roy Kapur (Playing Nitin), as a fat, farting, pottying photographer from Patna who steals the show. His exploits will contribute to legend of gross and you may well develop signs of nausea next time orange juice is served to you. Vir Das (Playing Arup) is a marvelous comedian. In fact, he is a master of situational comedy and this ensures that he does not have to break any sweat for making audiences laugh. And yes, there is Imran Khan (playing Tashi) who gets his shares of passionate smooches & 'erection' and in the process, makes you laugh. The two girls, the landlord and Vijay Raaz as the potty-receiving gangster play their part well. Vijay Raaz remains subdued (for a change) throughtout the movie, only to break into cuss spree towards the climax.   

  

The Director, Abhinay Deo, who made a rather lackluster debut with ‘Game’ early this year, leaves a massive impact with Delhi Belly. The way he executes funny sequences, maintains dignity while filming so-called bold scenes, is commendable. And yes, he along with the writer, deserves all the credit for sketching and portraying such ‘relatable’ characters who land up in unimaginable situations.

Ram Sampath’s music is the highpoint of Delhi Belly. Not a single song is second best or an 'also-ran'. Its tough to chose your favorite. For me, Switty edges past DK Bose by a whisker. Background score is compelling and songs have been very well fused in the scenes, which makes Delhi Belly a slim-trim film, length-wise.

Kudos to Censor Board, for passing this movie without any cuts. Yes, the film has been A-rated but that’s actually required but hardly a matter of concern for producers now a days. In fact, Delhi Belly is India’s first Wholesome Adult Entertainer. Abuses and cuss words fly thick and fast but they do not look vulgar. The entire narrative is so beautifully woven in the script that it leaves no scope for complains. Also, the film shocks you with its boldness at places. So, you gape in utter surprise when Kunal Roy Kapur gives a ‘delicate touch’ to a sex worker’s…well…bosoms. Imran Khan’s much publicized ‘erection scene’ also makes you sit upright in your seat. And yes, the concept of 'Blow Job' has been immortalized by Delhi Belly.

And lastly, let’s laud the man, Aamir Khan. You need lots of courage and conviction to back a project like Delhi Belly. His mind-blowing pelvic moves in ‘I Hate You Like I Love You’ culminate the proceedings on a high. He charms you with his antics and seems to be enjoying the golden phase of his career as producer.

 Delhi Belly is bold, intelligent and funny. It is one of those rare comic films that does not try to make you laugh. The decision is entirely left to you. 

Go, celebrate Hindi Cinema’s coming of age. You will find Mr. ROFL and Miss LMAO sitting next to you. Let Naysayers sulk!

Rating: **** (Excellent)

P.S.: I brought this quote from the film back home, “Your Ga**d is like Full Solar Eclipse”. (Vir Das to Kunal Roy Kapoor)