Hadh Kar di Apne (2000)
Starring: Govinda, Rani Mukherjee, Ritu Shivpuri, Nirmal Pandey
Director: Manoj Agarwal
Synopsis: Whacky romance, a bit like a 60s caper... almost quite amusing
Reviewed by: Faiz Khan

 

This latest Govindafest is quite a treat for his fans. At one point in the film, there are no fewer than six Govindas in the frame, ranging from an old and decrepit Govinda to three female Govindas and finally, of course, our hero—yet another Govinda. So, if you imagine this is a film only for die-hard Govinda fans, you may be pleasantly surprised. If I can bear it, I think almost anyone can.

The film offers nothing particularly new. It is old wine in a new bottle, borrowing freely from other films and following a style not too dissimilar to Anari No. 1. Yet it is a wacky, fun-filled entertainer made with a certain amount of charm—is that really possible with Govinda?—and freshness.

The plot is at least slightly different. A husband and wife, played by Nirmal Pandey and Ritu Shivpuri, are each convinced that the other is having an affair and both begin plotting to expose the other so that they can obtain a divorce. The wife announces that she is travelling to Europe but secretly sends her namesake and friend Anjali (Rani Mukerji) in her place while she remains behind to catch her husband red-handed. The husband, equally suspicious, sends his friend Raj (Govinda) on the same trip to spy on his supposedly unfaithful wife.

Having lost the photographs of the woman he is meant to be following, Raj mistakenly identifies another passenger as his friend’s wife. This particular woman appears to be handing packages to different men at various stops during the European tour and eventually turns out to be a drug dealer.

Meanwhile, Raj falls in love with Anjali, but soon becomes convinced that she is actually his best friend’s wife. Anjali, for her part, has been warned by her friend that her husband may be travelling under the assumed name of Raj, and therefore believes Govinda to be the philandering spouse.

The comic potential is considerable and, to the film’s credit, it maintains a lively pace and produces a fair number of amusing situations. Much of this is due to the lead pair, who work extremely well together and make a surprisingly balanced team. The songs are attractively picturised, and the European locations lend the film a welcome sense of freshness and scale. There is very little of the usual studio-bound artificiality.

Govinda, appearing in several guises, is clearly having a rollicking time, even though this is yet another variation on a role he has played countless times before. His comic timing remains excellent and, although there is nothing remotely new in either the character or the performance, he carries it off with ease and is genuinely funny in places. The loud guffaws heard throughout the cinema must surely count as a good sign.

But how does Govinda imagine he can get away with wearing transparent shirts? Shah Rukh Khan managed it in Phir Bhi Dil Hai Hindustani, and Hrithik Roshan in Kaho Naa... Pyaar Hai, but a flabby, overweight Govinda in a revealing shirt?

Could there possibly be anything worse?

Hadh Kar Di Aapne!

Please, somebody, give the man a bra—or hand out dark glasses to everyone entering the cinema.

Rani Mukerji matches him step for step, whether in the dances or the comic scenes. She has the rare ability to brighten almost any sequence with her dazzling smile and proves once again that she is one of the most naturally appealing young actresses working in Hindi cinema.