Mehbooba

This is the way we used to make a million movies: a song stuffed into a loud plot every five minutes, a heroine who8217;s willing to be humiliated if it means marriage to the man who loses no opportunity to insult her, and two heroes: the bad-good guy, and the good-good guy.

In Afzal Khan8217;s 8216;Mehbooba8217;, released nearly seven years after it began, straight-laced Manisha rolls over for billionaire playboy Sanjay, once he holds out that ultimate weapon8212;his 8216;maa ke kangan8217; no true-blue Bollywood heroine used to be able to resist these, remember? She dons a red chiffon sari, and gets all drenched-in-the-rain on a New York apartment terrace; Sanjay reveals all too, in a black singlet, and sheets are left rumpled.

Of course, all that was a hoax, meant only to add a new scalp on the rich guy8217;s well 8212; studded belt. Manisha retires to lick her wounds in Budapest, where she bumps into Ajay. And, what do you know, Manisha8217;s the very girl who8217;s been haunting his dreams for a long time. Surprise. So he woos her, helps her forget the scars of her past, and fetches her to his Rajasthan haveli, where 8216;ma-saa8217; and her brood is waiting. As well as, surprise, surprise, bade bhaiya, Sanjay.

If you want to know who gets her, you8217;ll have to wait till the very end of this endless pile of clicheacute;s. Continuing in the tradition of the bad old days, one of the guys has got to die. Seeing Ajay and Manisha in Budapest puts you in the mind of 8216;Hum Dil De Chuke Sanam8217;, in which they discovered they were each other8217;s true love: clearly, Afzal Khan was deeply influenced by Sanjay Leela Bhansali8217;s film before he began his.

Who let this dog out?

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