CAST & CREW
It is not that films have not been attempted on bedroom themes or within-the-closet topics. The handling of most of them has been either on a very serious level or in a very tawdry manner. “ Rabba Main Kya Karoon” although touted as a romantic comedy, is more apt to fall in this genre, as it leaves the romance part aside after the preamble, and takes the path of adult humour to explain the practical nuances of marital bliss.
Plot: The story of “Rabba Main Kya Karoon” starts off very innocently with the culmination of pure romance of two young hearts, and the elaborate arrangements being made for them through one of those typical grandiose Punjabi style wedding ceremonies spread over several days. In attendance are all relations and friends from far and near, eager to be with the bride and the groom wishing them well and imparting them with their sage advice. This wedding is being held right at the heart of Delhi, probably adding a more sophisticated urban touch to the goings on. Prima facie the main protagonists of the film are Akash and Sneha, (portrayed respectively by Sahil and Tahira), who are getting married, and for whom all this fanfare has been arranged. It is at this juncture that Akash’s big brother Shravan (enacted by Arshad Warsi) walks into the scene to oversee the arrangements and add his own inputs for the benefits of his greenhorn brother. He tries to impress upon brother Sahil a rather radical message that all males are like dogs and cheating is in their hormones! To garner support, he ropes in their more experienced ‘mamas’ in the form of the trio -Tinu Anand, Paresh Rawal, Shakti Kapoor, all of whom have come for the wedding. Soon we see them pontificating on their individual takes on the same radical theme expounded by Shravan. They join in the refrain declaring that in order to live a happy and uncluttered married life, one must cheat on one’s wife!
Recounting their own experiences, the first mama chuckles unabashedly that he had slept with a woman who lost her bra, after which he lost his cool searching for it; the second mama took advantage of his own dimwitted wife by flirting and romancing in front of her, and making her believe that this was all hallucinations that she was going through, and the third mama with an outrageous golden hairdo managed to get away with his dalliances due of his wife's own 'blonde moments'. The plot seems hilarious only at a superficial level, and the declared young protagonists seem mere props in the film both in terms of character development as well as acting. Within the limitations of their script, they seem competent as first timers. The main meat comes from the portrayals of the mamas- all veterans in comedy. In their attempt to inject laughs in their own manner, the romantic content wanes in the film away very soon, leaving a way for what can best be considered as unfettered ribaldry. Salim Suleiman’s music shows tempered raucousness in keeping with the general mood of the film, and the screenplay does not give enough scope for the editing of Satyajit Gazmer to show his mettle in any significant way. Between themselves the Sagar family duo comprising Moti, the producer and Amrit, the story writer cum director garner all the important credits (or discredits?).
Verdict: The film can surely be viewed to tide over a dull moment when quality is not what one is really looking for.
OTHER MOVIE REVIEWS