comedy. Chandraveer Singh (Anupam Kher) is a royal Rajput who lives in Rajasthan and is very class- and caste-concious. He has four sons, Udaybhan Singh (Mukul Dev), Prithvi Singh (Chandrachur Singh), Yashwant Singh (Sushant Singh) and Veer Vikram Singh (Tusshar), and a daughter, Divya Kumari (Shruti Sharma). Veer Vikram Singh comes from London to attend the marriage of his sister to a high-bred Rajput boy. While he informs his mother, Devika Singh (Anita Raaj), that his girlfriend, Chandni (Kulraj Randhawa), would be accompanying him from London, he develops cold feet when he confronts his strict father, because Chandni is a Punjabi, not a Rajput. Unable to introduce her as the girl he would like to marry, he instead introduces her to his father and, therefore, the rest of the family, as a journalist who had come there to cover the royal wedding.
Chandni soon makes a place for herself in Chandraveer Singh’s heart and fools him into believing that if she would not get married soon, she may have to remain a spinster all her life. Chandraveer Singh promises to find a good bridegroom for her before the deadline.
Within no time, Chandni’s parents, Fatoor Singh (Om Puri) and Pammi Singh (Farida Jalal), land in Rajasthan on learning that she and her boyfriend are there. They are about to introduce themselves to Chandraveer Singh as Chandni’s parents but Veer Vikram Singh saves the day by saying, Fatoor Singh (Om Puri), was an ace decorator from Punjab, whom he had called for the wedding arrangements. Soon, Chandraveer Singh asks Fatoor Singh if he knew of a suitable boy for Chandni. Fatoor Singh, just for the heck of it, says, Pappi Singh would be a very appropriate match. Now, Chandraveer Singh wants to meet Pappi Singh and warns Fatoor Singh that he would shoot him if Pappi Singh did not immediately come from Punjab as time for Chandni’s marriage was running out. Since there is no Pappi Singh in reality, it falls upon Veer Vikram Singh to pose as Pappi Singh, with turban et al. Pappi Singh, in disguise, wins Chandraveer Singh’s heart.
What happens thereafter? Do Chandni and Pappi Singh get married? Or does Veer Vikram Singh come clean and tell his father that he loves Chandni? What is Chandraveer Singh’s reaction when he learns the truth?
Babaji’s story is farcical and he prepares the audience for it right from the word ‘go’. There are exaggerated scenes and situations but if the viewer doesn’t mind them, it is because the story doesn’t pretend to be otherwise. Screenplay writers Amit Masurkar and Nishant Hada have complemented the story beautifully by writing farcical comedy scenes which have the audience in splits. Not just that, the writers have also sketched out such outlandish characters that they by themselves make people laugh. In this regard, special mention must be made of the characters of Chandraveer Singh, Fatoor Singh, Pappi Singh (Tusshar), Udaybhan Singh, Prithvi Singh, Yashwant Singh, Paan Singh (enacted by Johnny Lever), Lt. Shaitan Singh (Rahul Singh), Manjeet Singh (Rana Jung Bahadur) and Guddu alias Tedha Medha (Sudhir Kumar).
The first half impresses more for the characters rather than the scenes. Of course, some scenes in the pre-interval portion are funny but the characters are funnier. The interval point gives the audience the feeling that there’s good comedy in store for them in the second half and it must be said, the writers have more than lived up to the expectations because the post-interval part turns out to be quite a laugh riot. The writers have taken care to add a couple of Indian family sentiments in the comic drama, which touch the heart. Credit must be given to the dialogues and punch-lines penned by Amit Masurkar and Nishant Hada.
On the minus side, besides the ordinary first half, is the fact that too much emphasis has been laid on comedy without really developing the romantic track. Even the music, especially the songs originally composed for the film, needed to be more soulful.
Tusshar lives his role. He is very good as Veer Vikram Singh and shines as Pappi Singh. Kulraj Randhawa plays Chandni ably and with understanding. Anupam Kher is excellent and evokes laughter plenty of times. Om Puri does a marvellous job and shines in the role of Fatoor Singh. He deserves high praise for his effortless performance. Anita Raaj puts in a dignified show. Mukul Dev has his moments and makes them extremely entertaining. Sushant Singh is as natural as natural can be and deserves distinction marks. Chandrachur Singh lends good support. Rahul Singh is effective. Johnny Lever stands his own and is especially funny in the climax sequence. Sudhir Kumar evokes plenty of laughter as Guddu alias Tedha Medha. Farida Jalal is endearing. Harish gets very little scope as Suryaveer Singh, brother of Chandraveer Singh, but he does make his presence felt in the pre-climax scene. Rana Jung Bahadur, as Manjeet Singh, deserves special mention for a job brilliantly done. Hemant Pandey is alright as Ghadiyal Singh. Avtar Gill, Shruti Sharma, Manav Vij and Lokesh Tilakdhari lend adequate support.
Direction & Music
Samir Karnik’s direction is nice. Despite the farcical comedy, he has been able to sustain the audience’s interest right till the end, which is creditable. To Samir Karnik’s credit, it must also be said that he has used all the actors very effectively and not let any of them go overboard, something which could’ve easily happened in an over-the-top comedy such as this. Music (Sandesh Shandilya, RDB, Anaya, Shiv Hari, Abhishek Ray and Dr. Zeus) is a mixed bag. While the remixed version of the Chandni o meri Chandni song (RDB) and theKangna song (Dr. Zeus) are excellent, the other songs needed to be better. Lyrics (Sandeep Shrivastav) are alright. Song picturisations (Bosco-Caesar) are eye-filling. Sanjay Chowdhury’s background music is effective and augments the fun element. Analarsu’s action scenes go well with the film’s mood. Kabir Lal’s camerawork is splendid. Sets (Jitendra Kava) are appropriate. Editing (Mukesh Thakur) is sharp.
On the whole, Chaar Din Ki Chandni is an enjoyable and entertaining fare and will pick up on the strength of positive mouth publicity. Despite a dull start, it has the merits to ultimately prove an earning proposal. However, since business today largely depends on the first weekend collections, the poor start will ultimately come in the way of realisation of the film’s full potential.