Bollywood Gossip : July 2020

Friday, 31 July 2020

Movie Review: Lootcase

We all have different dreams and aims in life but one common dream for most is to get wealthy. But the reality of life is that despite slogging for years, most people are able to barely survive financially in today's world. Rajesh Krishnan’s comic caper LOOTCASE uses this as a crux and spins a funny story out of it. So does LOOTCASE manage to tickle the funny bone of the audiences? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1123698 size-full" title="Movie Review Lootcase" src="https://ift.tt/2DpzFZO" alt="Movie Review Lootcase" width="720" height="405" /> LOOTCASE is the story of a common man who gets rich overnight. Nandan Kumar (Kunal Kemmu) resides in a chawl in Mumbai with his wife Lata (Rasika Dugal) and son Aayush (Aryan Prajapati). He works in a printing press and has a hand-to-mouth existence despite working hard and being the next contender for the ‘Kirori Mal Employee of The Year’ in his office. Meanwhile, MLA Patil (Gajraj Rao) has got a goon eliminated who is associated with the gangster, Bala Rathore (Vijay Raaz). Bala decides to take revenge. He finds out that Patil is going to send a sum of Rs. 10 crore and a controversial file, which consists of details of his shady dealings, to his party head. Patil sends two of his men – Omar (Sumit Nijhawan) and Abdul (Shashi Ranjan) – to get the suitcase, filled with money and the file. Bala’s men Rajan (Nilesh Divekar) and Graduate (Aakash Dabade) intercept Patil’s men and a shootout begins among them. Bala’s men get hold of the bag but have to escape without the moolah as the police lands up suddenly. But before running away, they hide the suitcase near a public toilet neatly and decide to come back in an hour’s time to retrieve. As luck would have it, Nandan happens to use the toilet minutes after the shootout is over at that exact same place. He gets hold of the suitcase and realizing that nobody is nearby, he takes it with him. He hides it in the house of his neighbour Ramlal (Ghanshyam Garg) who is away for a fortnight. Nandan now starts to spend the money gradually on his family. Lata gets a bit suspicious though. Meanwhile, Patil is distraught when he learns about the missing suitcase and he gets Inspector Kolte (Ranvir Shorey) to retrieve the bag for him. Kolte realizes that finding the bag is next to impossible. The CCTV at the shootout site is non-functional. Also, Kolte believes that some local gangster has looted the suitcase. Nandan, meanwhile, hasn’t done anything to arouse the suspicion of the police or even the gangsters. What happens next forms the rest of the film. Kapil Sawant and Rajesh Krishnan's story is nothing new and might remind of similar films in this space or genre like DELHI BELLY [2011], EK CHALIS KI LAST LOCAL [2007], BLACKMAIL [2018], PHIR HERA PHERI [2006] etc. But Kapil Sawant and Rajesh Krishnan's screenplay is highly effective. There are tons of funny moments in the film which will raise loads of laughs. Also, these comic scenes are not urban or niche and have a pan India appeal. A few developments however are unconvincing. Also, the killing of the character in the first scene and its repercussions could have been better explained. The file plays an important role in the film and it doesn’t get its due in the film. Thankfully, the plusses outweigh the minuses. Kapil Sawant's dialogues are very witty and funny. In fact, the smart one-liners elevate impact considerably. Rajesh Krishnan’s direction is smooth and uncomplicated. There are multiple tracks in the film and all of them progress well. There’s no jerk in terms of sequence change. At a few scenes, he falters but overall, it’s a decent film debut of this director who has earned fame in the web series and advertising space. <img class="aligncenter size-full wp-image-1123700" src="https://ift.tt/30gR2ot" alt="" width="720" height="405" /> LOOTCASE takes a while to settle. The initial 15-20 minutes are spent in introducing various characters. Once Nandan gets hold of the suitcase, the film goes on a high. The scene where he is splurging for his family’s happiness is endearing. But it’s the supporting characters that really add to the humour tremendously. Whether it’s MLA Patil’s psychological tactic of getting work done or Bala giving references of animal’s scientific names and even promoting National Geographic to Kolte’s sarcasm and aggressive behaviour, most of these characters have unique traits that not only keep the interest going but bring the house down. In the second half however, the film drops. The song 'Pavitra Party' is forced while Nandan attempting to buy a flat is silly and needlessly adds to the length. Nandan keeping the wet currency notes on terrace for drying is also quite unconvincing. But the interest is revived once Kolte goes to the bank and gets some details about the bag thief. The climax is maddening and it’s interesting to see how the humour has been kept intact. The final scenes raise lot of questions which are left unanswered but no complaints though. Kunal Kemmu delivers a genuinely fine performance. His comic timing is first-rate and he underplays his part very well. Rasika Dugal is lovely and plays the role of the righteous housewife to the T. She is the emotional backbone of the film and hence stands out from the rest. Gajraj Rao is excellent and the way he persuades others to get his work done will be loved. Vijay Raaz does his deadpan humourous act yet again but this time, he’s equipped with a novel character trait and that helps. Ranvir Shorey is the surprise of the film. He brings out the humour with his aggression and sarcasm. At places, it’s his scenes that work the most. Vijay Nikam (Nandan’s boss Vasant Goenka) doesn’t get to do much but shines in the pre-climax. Aryan Prajapati is entertaining. Sumit Nijhawan and Shashi Ranjan are okay and same goes for Atul Todankar (PA Subhash). Nilesh Divekar and Aakash Dabade however have a good screen presence. Ghanshyam Garg, Digvijay (Jameel), Sachin Naik (auto driver Keshav Prajapati), Manuj Sharma (Faizu) and Preeti Sharma (Real estate salesperson) are decent. Himanshu Sharma (Supermanav) is nothing great but what’s disappointing is that such an interesting character doesn’t get utilized properly in the film. Music is nothing great. 'Laal Peti' is soothing while 'Pavitra Party' is wasted. 'Muft Ka Chandan Chandan' is played in the end credits. Sameer Uddin's background score has the wicked and quirky feel. Sanu John Varughese's cinematography is appropriate. The chawl scenes are especially well shot. One can feel the characters struggling to survive in a small space. Rateesh UK's production design is very authentic. The chawl and printing press look straight out of life and probably shot in real locations. And the book shop is a lovely set and well thought of. Divvya and Nidhhi Gambhir's costumes are realistic. Manohar Verma's action is a bit gory especially in the end. Anand Subaya's editing is neat and except for few scenes in the beginning of second half, nothing in the film is unwanted or forced. On the whole, LOOTCASE is a highly entertaining and funny film which works due to its superb writing, smooth direction and effective performances.

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Movie Review: Lootcase

Thursday, 30 July 2020

Movie Review: Shakuntala Devi

Our country has produced a lot of genius minds who have made India proud all across the world with their talent and determination. One such personality is Shakuntala Devi. Most people don’t know much about her except that she was hailed as the ‘Human Computer’. Director Anu Menon, co-director of the path-breaking web series FOUR MORE SHOTS PLEASE, bases her next film on the adventurous life of this iconic lady. So does SHAKUNTALA DEVI manage to entertain and awe the audiences? Or does it fail to entice? Let’s analyse. <img class="aligncenter size-full wp-image-1123583" src="https://ift.tt/2XeIhtf" alt="" width="720" height="405" /> SHAKUNTALA DEVI is the story of a mathematical genius and her complicated relationship with her daughter. Shakuntala Devi (Araina Nand) is 5 years old and lives in Bangalore with her family. Her brother Srinivas (Ahan Nirbhan) discovers that she can solve complicated maths problems easily. Shakuntala’s father (Prakash Belawadi) realizes that he can do maths shows with her to enthral audiences and thereby earn money. He starts doing so, depriving Shakuntala of a formal education in school. He justifies it by reasoning that she is too intelligent and sharp for schooling. Shakuntala agrees but begins to hate her father for his selfish agenda. She also gets irritated with her mother (Ipshita Chakraborty Singh) for not standing up against her father. Shakuntala’s closest family member is her paraplegic sister Sharada (Jiya Singh). Sharada passes away one day because of lack of medical care. Her father argues that he didn’t have enough money to take her to the doctor. This enrages Shakuntala. Two decades later, Shakuntala (Vidya Balan) moves to London, hoping that she can use her talent to make money. After initial rejections, she finally gets a chance to do her own shows thanks to Javier (Luca Calvani), a member of a mathematical society. He also fine-tunes her English and makes her presentable. In no time, Shakuntala becomes renowned and she is able to buy her own house in the English capital. This is when Javier decides to leave her as he believes that she doesn’t need him anymore. A year later, she meets a divorced IAS official Paritosh Banerji (Jisshu Sengupta) in Bombay and they fall in love. They get married and soon have a daughter, Anupama (Sanya Malhotra). At first, Shakuntala gives up on her work and becomes a full-time mother. Soon, she begins to miss doing shows and travelling around the world. Paritosh encourages her to follow her dreams and assures that he’ll take care of Anupama. Shakuntala begins her tours once again. All is going well until one day, Shakuntala learns that Anupama’s first word is ‘Daddy’. Shakuntala realizes that she shouldn’t be away from her daughter. Hence, she decides to take Anupama with her on her tours. Paritosh protests but she doesn’t listen. Anupama starts living like a nomad with Shakuntala and begins to miss her father and a normal routine life. Shakuntala, however, encourages her to enjoy the life she’s living and she even uses Anupama for her work purposes. Slowly and gradually, Anupama begins to despise Shakuntala just the way Shakuntala had begun to abhor her own mother. What happens next forms the rest of the film. Anu Menon and Nayanika Mahtani's story is quite unique. Many would not know about Shakuntala Devi’s personal life and her rift with her daughter. Anu Menon and Nayanika Mahtani's screenplay is entertaining and the writers have tried their best to ensure the film is as engaging and mainstream as possible, narrative-wise. However, the content can be quite shocking and uncomfortable for our audiences. This is because viewers are accustomed to seeing woman character in a particular way and here, the woman here is shown to be highly progressive, ambitious and breaking all norms. And while doing so, she also gets into the bad books of her ex-husband and daughter. One can’t however deny that it also makes for a refreshing watch. Ishita Moitra's dialogues are sharp and witty. Anu Menon’s direction is praiseworthy. She keeps the duration in check at 2.07 hours and tries to pack in as much of her life as possible in a neat and concise manner. She adds a lot of entertainment and drama to many proceedings to keep the interest going. And most importantly, she doesn’t make a hagiography. Biopics in Bollywood usually treat their characters with unnecessary reverence. SHAKUNTALA DEVI is a rare biopic that doesn’t do so and highlights her flaws as well. On the flipside, the narrative is complicated. There’s a lot of back-and-forth happening as the film jumps across timelines. A few developments are too quick and some tracks don’t reach a logical conclusion. For instance, Paritosh’s character is forgotten completely in the last 30 minutes. <h4>Vidya Balan: “Shakuntala Devi is the only Computer with sense of humour” | Amit Sadh | Sanya</h4> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/30eJqD6" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SHAKUNTALA DEVI begins on a dramatic note, at a time when the grown-up Anupama announces that she’s going to sue her own mother. It immediately catches attention and makes one curious. The film then goes on a flashback mode depicting Shakuntala’s life as a child and how her mathematical prowess was discovered. The scene where she does her first maths show in a local school is interesting. Things however get better when she moves to London. The scene where she horrifies her male roommates about what she did with her boyfriend brings the house down. Also, the manner in which Javier and Shakuntala get close is cute and makes for a great watch. The sequence where Shakuntala proves the computer wrong and the scene of her first meeting with Paritosh are the other entertaining scenes of the first half. Humour and light-heartedness takes a backseat once Paritosh and Shakuntala fight and Anupama is forced to tag Shakuntala across the world. In the second half, a few scenes become difficult to digest as the mother-daughter relationship turns horribly sour. The tension is broken mid-way in the scene where Shakuntala and Ajay Abhaya Kumar’s (Amit Sadh) parents meet for the first time. The climax is dramatic and justified, though a few developments could have been gradual and more convincing. SHAKUNTALA DEVI belongs to Vidya Balan without a shred of doubt. She has rarely disappointed and this flick is no exception. She owns the character and her style, comic timing, expression, hearty laugh etc, all contribute in making the performance superlative and award-winning! Sanya Malhotra has a crucial part and though she goes overboard in few confrontational scenes, she gets her act right in most places. She is quite natural in a crucial scene wherein she realizes that she is also becoming like her mother. Amit Sadh lends able support and leaves a huge mark. Jisshu Sengupta is dependable. His is also a challenging character but he succeeds in impressing. Luca Calvani is endearing. Sheeba Chaddha (Tarabai), Prakash Belawadi, Ipshita Chakraborty Singh, Jiya Singh and Ahan Nirbhan are fine. Araina Nand and Spandan Chaturvedi (12-year-old Shakuntala) are confident. Neil Bhoopalam (Dheeraj) is funny in the cameo. Purnendu Bhattacharya (Ajay's father) and Renuka Sharma (Ajay's mother) are fine. Sachin-Jigar's music doesn’t have a shelf life. 'Pass Nahi Toh Fail Nahi' is played during the end credits and is catchy. 'Rani Hindustani', 'Jhilmil Piya' and 'Paheli' work well in the film but don’t have a lingering effect. Karan Kulkarni's background score is sans complaints. Keiko Nakahara's cinematography is simple and neat. Vintee Bansal and Meenal Agarwal's production design is superlative and the period look comes through well. Niharika Bhasin's costumes are terrific and Shakuntala’s various kinds of dressing styles over the years are depicted beautifully and authentically. Vikram Gaikwad and Shreyas Mhatre's hair and make-up design also adds to the impact. Do It Creative Ltd and Future Works Media Ltd's VFX could have been better. Same goes for Antara Lahiri's editing. On the whole, SHAKUNTALA DEVI, despite the unconventional subject, works big time due to the execution and Vidya Balan’s award winning performance. Recommended!

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Movie Review: Shakuntala Devi

Friday, 24 July 2020

Movie Review: Dil Bechara

NOTE: As a mark of respect to the deceased lead actor Sushant Singh Rajput, Bollywood Hungama has decided NOT to assign any star rating to this movie review The untimely demise of Sushant Singh Rajput has left a void in the lives of millions across the country. And around 40 days after his demise, his last film DIL BECHARA released today on Disney+ Hotstar. In a heartening gesture, the streaming giant has made the film available for free for everyone. So does Sushant’s swan song manage to tug at the heartstrings of the viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1122278" src="https://ift.tt/2ZXy5XS" alt="" width="720" height="450" /> DIL BECHARA is the love story of terminally ill youngsters. Kizie Basu (Sanjana Sanghi) has shifted from Zambia to Jamshedpur along with her parents (Saswata Chatterjee and Swastika Mukherjee). Her life has turned upside down as she has been diagnosed with thyroid cancer. This requires her to wear a pipe around her nose and carry an oxygen cylinder 24x7. One day, in her college, she bumps into Manny (Sushant Singh Rajput). She finds him to be loud and arrogant. But later, she realizes that even he’s suffering from a cancer (osteosarcoma) due to which one of his legs had to be amputated. Yet, he lives life to the fullest and this makes Kizie fond of Manny even more. As they start to spend time with each other, she confesses to him that she loves the 'Main Tumhara' album of a musician named Abhimanyu Veer (Saif Ali Khan). Manny listens to the songs reluctantly but soon becomes a fan. However, he finds the title track incomplete. Kizie agrees and expresses that she wishes to meet him once. Manny realizes how much meeting Abhimanyu Veer will mean to Kizie. Hence, he finds Abhimanyu’s email address and arranges their meeting with him in Paris, where Abhimanyu resides. Kizie’s parents are aghast with her plans to fly in this condition. However, they soon get convinced and Kizie’s mother also decides to join Kizie and Manny in their Paris trip. Manny books the tickets as well but few days before the trip, Kizie’s health deteriorates and she has to be hospitalized. What happens next forms the rest of the film. DIL BECHARA is the official remake of the 2014 Hollywood love saga THE FAULT IN OUR STARS. Suprotim Sengupta's adapted story is simple, neat and uncomplicated. Suprotim Sengupta's adapted screenplay is entertaining and the characters and their journeys are well fleshed out. Shashank Khaitan's adapted dialogues are witty and conversational and also have the ‘filmy’ touch for Manny’s scenes. And in Abhimanyu Veer’s scenes, the lines are acidic. Mukesh Chhabra's direction is decent, considering that this is his debut film. He deserves brownie points as he makes viewers fall in love with the characters seamlessly. However, the film does drop in the second half, after the Paris episode. But this is a minor complaint and it picks up yet again in the climax that is sure to tear you up and make you grab the tissue box. DIL BECHARA is just 1 hour 41 minutes long and doesn’t waste time. From the first scene, the focus is on the characters and the cancer factor. The first 8-10 minutes are fine but the film gets better as Kizie and Manny get introduced. Manny’s character is quite funny and it adds a lot to the entertainment quotient. The other two scenes that particularly work are Kizie and Manny going to the ‘serial killer-serial kisser’ spot and the scene where Manny meets Kizie’s family while watching the National Geographic channel. In the second half, scene involving Manny and Kizie’s father touches the heart. The Paris episode is unexpected but has its share of lovely moments. The finale however is heart-breaking. Moreover, parallels can be drawn with reel life and the loss of Sushant in real to the sequence where Kizie gives Manny a preview of the funeral speech and also in the final scene. EMOTIONAL- Sanjana on Sushant’s demise, lovely memories, harmful blind items, Dil Bechara & Music <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2OTpRto" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> DIL BECHARA belongs to Sushant Singh Rajput not just because he’s no more but also because he’s on another level in the film. His character is very well written and he adds his charm. He’s sure to make you laugh a lot in the scenes where he’s pretending to be goofy and sweet and he’s sure to make you cry buckets of water in the finale. For many of his fans, this will be a difficult watch. Sanjana Sanghi is excellent as her first role as a female lead. She also maintains her strong position and leaves a mark in several sequences particularly in the confrontational sequences and the finale. Saswata Chatterjee is adorable. Swastika Mukherjee is too good and suits the part. Her change of heart towards Manny, however, does seem a little unconvincing. Sahil Vaid (J P) is dependable as always. Saif Ali Khan is quite cool in the cameo. Subhlaxmi (Manny’s Nani) is sweet and one wishes she had more screen time as it would have been interesting to know Manny’s relationship with her. Sunit Tandon (Dr Jha) is decent. Michael Muthu (Manny’s father) and Rajie Vijay Sarathy (Manny’s mothe) get no scope. Durgesh Kumar (Rickshaw puller) is fine. A R Rahman's music is in sync with the film and its many moods. The title song is the best of the lot and that it’s shot in one take makes it even more special. 'Main Tumhara' is an important song of the film and is sure to linger in one’s mind. 'Taare Ginn' is beautifully composed and shot. 'Afreeda' is played just for a minute but has a catchy feel. 'Maskhari', 'Khulke Jeene Ka' and 'Mera Naam Kizie' are also good. A R Rahman's background score is better and elevates impact. Setu's cinematography is splendid and captures Jamshedpur and Paris with panache. Amit Ray and Subrata Chakraborty's production design is appealing. Watch out for the abandoned dump yard by the lake – it gives a nice touch to the narrative! Natascha Charak and Nikita Raheja Mohanty's costumes are visually pleasing. Aarif Sheikh's editing is without complaints. On the whole, DIL BECHARA has strong emotions and hype as its trump card - a fact that goes in its favour completely. It will make you tear up and grab the tissue box atleast once. For lovers of Hindi cinema and fans of Sushant Singh Rajput, say 'YES' to Dil Bechara. <h4>NOTE: As a mark of respect to the deceased lead actor Sushant Singh Rajput, Bollywood Hungama has decided NOT to assign any star rating to this movie review</h4>

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Movie Review: Dil Bechara

Thursday, 16 July 2020

Movie Review: Virgin Bhanupriya

The 2005 Hollywood comedy THE 40 YEAR-OLD VIRGIN has been quite loved especially for its premise - a man desperate to lose his virginity but is not able to do it due to certain circumstances. Bollywood has made its unofficial remake in the form of NAUGHTY @ 40 [2011], starring Govinda. There have been many more Bollywood films where this plot point is used as side track and for comic relief. VIRGIN BHANUPRIYA, starring Urvashi Rautela is based on this idea but it stands out as here, the protagonist is female. So does VIRGIN BHANUPRIYA manage to impress and entertain? Or does it fail to entice? Let’s analyse. <img class="aligncenter size-full wp-image-1120532" src="https://ift.tt/3h3Jwml" alt="" width="720" height="450" /> VIRGIN BHANUPRIYA is the story of a girl trying to lose her virginity. Bhanupriya (Urvashi Rautela) is a young, conservative girl from Mumbai. Her parents (Rajiv Gupta, Archana Puran Singh) are separated and are always fighting with each other. She wants to fall in love but all her attempts fail. She starts dating a man named Irrfan (Vikas Verma). He pretends to be an animal activist but one day, he gets arrested for selling stray dogs as animals of international breed. Bhanupriya’s friend Rukul (Rumona Molla), meanwhile, is quite promiscuous and she is trying her best to ensure that Bhanupriya gets laid. In one such attempt, she attempts to hook Bhanupriya with the college nerd Rajiv (Sumit Gulati). Bhanupriya detests him but with no other option, she decides to have sex with him in the college library. Sadly, she gets caught red-handed and the matter reaches her parents. Bhanupriya’s father realizes that Rajiv is rich and will hopefully get a government job in future. He realizes it’s a good match. However, Bhanupriya stops them for taking matters further. Rukul then introduces Bhanupriya to the stud Abhimanyu (Gautam Gulati). He’s called Shartiya as he loves to bet and never loses. Bhanupriya falls in love with him and he too gets attracted to her. One day, when her father has gone out, Bhanupriya calls him home. She tries to get physical but Abhimanyu asks her to consume vodka, which he has brought with him. As Bhanupriya is about to drink, Rajiv lands up at her house and warns her not to drink from the bottle as it’s countrymade liquor filled in the vodka bottle. An angry Bhanupriya kicks him out of the house. Shattered, she goes into the washroom and starts to cry. Her father meanwhile arrives home and drinks from the same bottle. He finishes the whole drink and collapses. What happens next forms the rest of the film. Ajay Lohan's story has a lot of potential and could have made for a laugh riot. But Ajay Lohan's screenplay is very weak. Ideally, the writer should have gone all out and added some maddening moments as the story deserved that. Ajay Lohan's dialogues are poor. A couple of one-liners raise laughs but that’s about it. Also, there have been a lot of digs on the right-wing ideology and while it works in the Goa hospital scene, in the rest of the film, it seems forced. And a dig on popular actress Rakul Preet Singh is bizarre and added just for the heck of it. Ajay Lohan's direction is poor. To give credit where it’s due, one can sit through from start to finish. It never gets unbearable. Sadly, that’s not enough and one needs a lot more in the film to impress the audiences. A few moments are entertaining and funny. The emotional moments fail to move. The biggest issue, however, is with the climax. The director raises tension levels as Shartiya is presumed to have run away. However, Bhanupriya’s reaction after the truth comes out is unconvincing. Also, Rukul’s decision on her pregnancy doesn’t cut ice. VIRGIN BHANUPRIYA is 1 hour 50 minutes long and starts off with the central plot without wasting any time. Some of the situations in the film are funny, on paper, but doesn’t translate the same way on screen. The track of Rajiv is mediocre. Shartiya’s entry is heroic and one expects the film to get better. Sadly, that doesn’t really happen. The film should have been high on humour and also emotional moments and barring a joke or two, nothing really works. The climax is haphazard and even though the twist is kind of unexpected, the impact is not made. Talking of performances, Urvashi Rautela has a fine screen presence. She manages to do well as the film’s lead and no complaints in this regard. Rumona Molla gives a good performance but sadly her track in the end does haywire. Gautam Gulati is a bit over the top but that works for the character. Rajiv Gupta hams and it’s sad to see such a talented performer being reduced to a caricature here. Archana Puran Singh too overreacts but comparatively, she is better. Niki Walia (Moon Aunty) is decent. Brijendra Kala (cop) is dependable. Sumit Gulati performs as per his character. Others like Natasha Suri (Shonali), Pranav Verma (Jhanda), Amrit Arora (Pungi), Ashutosh Semiwal (Chukiya), Vikas Verma (Irrfan), Delnaaz Irani (Tarot Card Reader), Rajiv Nigam (Astrologer) and Babita Thakur (right-winger doctor in Goa) are okay. Amjad-Nadeem's music is forgettable. 'Beat Pe Thumka' is the best of the lot as it's catchy. 'Dil Apni Haddon Se' is shot well. 'Kangna Vilayati' is played during the end credits while the title track is missing. The recreated version of 'Pucho Na Yaar Kya Hua' is poor. Sanjoy Chowdhury's background score is unimpressive and has a daily soap-feel. Same goes for Bhimrao Sapkale's art direction – the sets look straight out of a TV show. Johny Lal's cinematography is passable. Moushmi Rana's costumes are appealing especially the ones worn by Urvashi, Rumona and Gautam Gulati. Akshay R Mohan's editing is fine. On the whole, VIRGIN BHANUPRIYA rests on a good idea but is spoilt by its writing and treatment.

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