Aap ka Suroor (published in Different Strokes Youth Magazine, Delhi)
Posted July 19, 2007on:
As you must have guessed after watching the promos, Aap ka Suroor is a suspense thriller. Great mystery and intrigue shrouds the core theme – what lies under Himesh Reshmaiya’s cap? Years of speculation and theorizing by pundits and commoners alike about “what lies beneath” – a turnip patch, a thorny bush, a grassy knoll, horns, a balding pate – are finally brought to an end. And the truth is withheld till the very end, the suspense building up to a feverish pitch and revealed in a nerve wracking finale. What is it? I shall not spoil the fun and resist the temptation of giving it away, and it is for moviegoers themselves to discover.
And oh yes, the movie also has a sub-plot, a whodunit. The movie is set in Germany, where Himesh (or HR, as he is affectionaly refered to) is for a concert. The plot begins at the end, when a white TV reporter called Nadia, who is the daughter of brown Raj Babbar (from a white mother presumably), is found murdered. Our hero Himesh Reshmaiya is hauled into lock up mid performance and charged with the offence. The police has incriminating evidence against HR, video footage of him at the act of murdering Nadia in a fit of drunken lust, which she manages to take with a camera hoisted on her shoulder while he undertakes his murderous assult. Perhaps she might have been able to save herself had she used her hands to ward him off, rather than hoist the camera. But these papparazzi never learn. Well, that clinches it right? Evidence can’t get more obvious than that. The answer is no – not since Mission Impossible. Not since movie villians have discovered the art of donning a mask and altering thier looks, height, weight, frame, voice and sometimes gender.
The movie then goes into flashback mode, a medley of characters being introduced to us over the events of the past 15 days – Shravan, HR’s chirpy best friend; Riaa, HR’s event manager and love interest; Ria’s weeping willow father; Khurana, the hynaesque shrewd businessman; Ruby, the seductive lawer, spurned lover and salsa dancer. Take your pick – one of them did it. Naturally Himesh escapes from jail to look for the real murderer himself to clear his name before his beloved’s father marries her off to someone else. And thus the script continues on it drab course.
Well, after being subject to the aforementioned, I have my reservations about the caption “A true love story”. But I guess Himesh takes the oppurtunity to vent his melodramatic personality which everybody has seen flashes of on “Sa Re Ga Ma Pa“. He also seeks to reveal additional shades of his personality like “Himesh kabhi muskarata kyon nahi“. The reason evidently, is not a misplaced sense of quixotic cowboyness, but the sudden death of Himesh’s dear elder brother, after which Himesh lost the will to live and subsequently rose to fame and riches. And he further rises in our approbation when were told that “himesh sharab nahi peeta“, “glamour world mein kuch log loose morals waale to hote hain lekin haath ki pachon ungliyan ek si nahi hotin” and “himesh bacchon se bahut pyaar karta hai“. Sniffle…
In the final analysis, well, there isn’t much to analyze. It’s as mindless as any commercial movie, but not more so. Himesh does well to take advantage of the myth sorrounding his persona, and indulge himself, and get richer in the process. It’s very fashionable to lambast the movie nowadays, but for me, its not any more boring and insipid that the rest. But it does make me want to renew my vow “mai hindi picture nahi dekhta“.