Cast: Imran Khan, Shenaz Treasuryvala, Rahul Pendkalkar, Vir Das, Kunal Roy Kapoor, Vijay Raaz, Paresh Ganatra, Raju Kher, Rahul Singh, Rahul Pendkalkar
Director: Abhinay Deo
Delhi Belly, most would know, is a fairly common bowel problem. Usually firangi, low-budget backpackers get these loosies, when they hang out in Third World countries (like ours), where their food and water supposedly comes mixed with 10 per cent shit. It’s called the Traveler’s Diarrhea. Which is what Nitin (Kunal Roy Kapoor) is apparently suffering from. You’re not surprised. Along with his two lazy buddies, Tashi (Imran Khan) and Arun (Vir Das), this fat beardo lives in a serious dump. Even the apartment’s ceiling could collapse with gentle persuasion, it seems. The room should be healthy habitat for rodents and insects. Water’s in short supply. Nitin relieves himself in the loo, where the metal flush could fall on his head. It does. He cleans himself up with orange juice thereafter; his butt cheeks, he says, are now stuck to each other. Grrrotesque. His loony loosies in fact is what this film is named after. The movie has little to do with Delhi itself (unlike, say a Band Baaja Baraat, or No One Killed Jessica). It could’ve been set anywhere, unless Raj Palace for Delhi’s Taj Palace counts for much. This story, in any other city, would’ve probably been just as much a rollicking ride.
A film of this Jackie Brown genre usually has a package that a chase is occasionally centred on. Guy Ritchie’s Lock, Stock, And Two Smoking Barrels is often the chosen, ultimate template for underground cool. Yet, this pic doesn’t seem a fake derivative at all. There’s a Russian doll in here that the guys in the film have to deliver to a designated address. Between a trip to the clinic and the given address, Nitin’s stool sample gets interchanged with the doll. As the Mafia don (Vijay Raaz: for once, calm and under-stated) patiently spreads out a black cloth to inspect the diamonds he’d ordered, what he finds instead is sticky liquid with a gooey lump of human dung, making a map of Africa, on his desk. Grrross. Thus begins the daylong chase for the dudes, and the misplaced diamonds. Arun’s a cartoonist with an ad agency. Tashi’s a stringer with a newspaper, who follows both murders and pretty page 3 low-talents for a living. This part isn’t entirely clear. Nitin’s a freelance photojournalist, who could take an odd picture or two at GB Road (the red-light area) to blackmail his landlord. Together, they don’t necessarily compliment each other in the same way, say, the Hangover male trio (Phil, Stu and Alan: father, mother and son) do.
Characters aren’t of much significance still. Casual sketches would do. Unlike Aamir Khan’s previous productions, there’s neither a strong sub-text (Peepli Live) here, nor some deep lyricism (Dhobi Ghaat) to go with. You don’t think. You don’t wish to as well. A hilarious, situational plot after another, often testing the bounds of delicious profanity smartly written (Akshat Verma), dramatically executed (Abhinay Deo) is pretty much the point of this pic. Background score bears a touch of Pulp Fiction. ‘Bhaag DK Bose’ (Run DK Bose), based on “Bhaag bhke aandhi aayi”, a popular North Indian expression (DK Bose's an old Delhi joke too), becomes the anthem for these blokes on the run.
They give off a genuine zombie look of people, to whom things just happen. They evidently do nothing themselves. And a whole lot happens within the realm of 98 minutes, non-stop (there’s no interval), adult sex comedy. Which is also in parts cheesy (too many farts); observational (the Kathak dance master cameo); inspired (drinking water from a burkha), with stuff straight out of fine stand-up routines (If a donkey a rickshaw, that’s what you’ll get a Santro, that is). There’s refreshing honesty in a smart madcap movie that never holds itself back. I’m told the Hindi version (this one’s mostly in English) isn’t toned down to lameness either. Finally Aamir Khan walks into the screen, parodying a dance that’s a cross between Travolta and Elvis the Pelvis.
The item number for the single screens was clearly unnecessary. End credits roll. That’s where Aamir deserves to be, right on top, for backing a flick that may hopefully start a good bowel movement at the cinemas (revolutions can happen later): six on six as producer is by no means a mean feat. Super fun. Full respect.It is a cliche as old as this nation of the many Indias that breathe under one India, Indian cinema has hardly been representative of even a few of these. Yet, one would have expected, after globalization and the emergence of a new bold, urban India, that at least this class would get representation in commercial cinema. Though there have been successful attempts in the past, it is with "Delhi Belly" that the urban, money-is-everything, foul-mouthed India has been captured with aplomb. And that, depending upon your morality, is good or bad. Tashi (Imran Khan), a Delhi-based journalist living filthily with two roommates, winds up with a bunch of 'desi' goons chasing him and his mates after a mix-up. The three are forced to navigate the dark underbelly to survive, while encountering one situation after another and one idiosyncratic Indian after another. The beauty of Abhinav Deo's film is not its smooth story, loosely inspired by the type of films made famous by Guy Ritchie, 'Lock Stock' and 'Snatch' among others, neither is it Ram Sampath's catchy music that beats to the rhythm of the film, or the slick, seamless direction, or its immaculate casting and performance or even its wickedly witty dialogues. The true beauty of the film is in all these elements together creating a madcap image of a new, unabashed, even shameless section of India.
Though Delhi is referred to in its title, it is not the real Delhi that Dibakar Banerjee captures with satirical reality in his films. Instead, it is the image of a Delhi populated by young, educated, newly 'liberated' urbanites. In that it is the splitting image of that young urban India anywhere perpetually churning like the stomach of a character in the film, a showcasing of this nations new neo-liberal underbelly. However, the other Indias might not take kindly to the film. Hypocritical Indians okay with female infanticide and dowry would be aghast at how almost every 'bad' word that they know is spoken everywhere on the streets and in homes, finds a place in the usually moralistic Bollywood. Cinema purists too may cry foul that the film does not really have a soul and is not really trying to say anything. Though a legitimate accusation, in not having a soul and not really being concerned or serious about anything, the film holds a mirror to a large section of the country. And that is a big statement in itself. For decades Indian cinema has been shackled with a morality that has not kept pace with the changing morality of life around. Though the morality of the film is strictly of urban, young, middle-class India, and isn't representative, it is welcome as this is the farthest Bollywood has gone to truly representing urban life. And just for that, hats off to Aamir Khan for yet again, after "Peepli Live" and "Dhobi Ghat", believing in a different kind of cinema, even while he doles out a "Ghajini" in the same breath.
The last scene of "Delly Belly" is bound to become as iconic as the one in Mahesh Bhatt's 1990 musical 'Aashiqui'. If there the lovers were so embarrassed of their surroundings that they had to kiss under a coat, here the lovers who are not even girlfriend-boyfriend are so brazen and caught in the heat of the moment that the guy kisses the girl in full view, half his body hanging out a slowly moving Maruti car symbolic of old India, unconcerned whether others are looking (which they are not). If that isn't the urban, chic, and unconcerned-about-others India that has moved away from the morality of an un-liberalized India in 'Aashiqui' then what is? For Imran, Vir and Kunaal, it is a dirty life out there. The kind where people are not judged by their clothes, cockroaches feast on pizzas when the 'maalik' is away and men use orange juice to clean themselves up when there isn't any water around. Of course miracles do happen with Imran finding a hot girlfriend in Shenaz Treasury (cute and loveable) and another hot colleague in Poorna Jagannath (smart and desirable). So while the boy doesn't even get half a chance to decide between the two, a crazy day in his life makes it all upside down for him.
Result? A damaged car that had been gifted to him just hours ago by his future father-in-law, a face battered by a dozen odd blows, a damaged roof with a dancer's foot dangling from the top, a run in with gangsters indulging in 'heeron ki smuggling' with Russians, a broken engagement, few bottles of beer and last but not the least, a bag containing Rs. One crore. Well, almost! In a crazy encounter that results in the aforementioned situations that are as unbelievable they get, Abhinay actually manages to make it all believable courtesy the fast paced narrative that doesn't allow a single moment to think. So while I am penning this review, there are questions that do come to my mind eventually. 'What was the significance of that 'laash' found on road?' 'What exactly did Kunaal's upset belly add on to the film's plot other than getting some humour on screen which actually became a put off when served in excess?' 'What really was the stress point in Imran-Shenaz relationship?' etc. etc.
However in the bigger scheme of things with all the fun on screen, what with Imran taking a straight faced approach, Kunaal being colourful all around and Vir unable to comprehend why is he actually being hung from the roof through a neck tie, there is a lot in 'Delhi Belly' that actually makes one laugh out loud in at least a dozen odd points in the film. And the one who actually provides maximum fun is the oldest of the lot, Vijay Raaz, who has now cemented his place in the industry as a villain who gets some of the best lines. Of course this also means that there are expletives in abundance, both in English as well as Hindi. Also, when Poorana gets on Imran's top, rest assured the after effects are not just felt by the man but also seen by the audience. And then of course there are all the 'belly' moments which, frankly, turn out to be much to digest. Pun intended. Moreover, for all the talks of the film being in the same genre as 'Lock Stock', smarter edit cuts on the same lines would have only made the film further engaging.
However leave aside this fact and 'Delhi Belly' turns out to be a 100 minutes joy ride which is also made special due to songs that play in the background at the right time and the right scene. So while 'Bhaag DK Bose' is the pick of the lot as it comes at the all important chase sequence, there is also a certain subtlety in the placement of 'Nakadwaale Khisko'. The end credit title sequence 'I Hate You, I Love You' is of course like the cherry on the cake but my personal favourite is 'Switty Switty' that captures the road rage flavour of the city of Delhi just right.
'Delhi Belly' actually mad me remember the masala films from the 70s/ There was one element that was almost common to most of them 'heeron ki smuggling'. There was 'maal' which used to be unloaded on the 'docks', there was a currency note that was torn into half with both parties having a piece of it, there was police, there were bad boys and then there were not too good boys. Together it all came together to make one 'masala' affair that by and large kept the audience happy as long as there was some 'dhishoom dhishoom' and win-win situation for all. Circa 2011 and there isn't much 'dhishoom dhishoom' in the comical drama here. But yes, there is a definitely a homage to the cinema which has gone by with a common element being, as you must have guessed it by now, ton loads of diamonds. And they are no mean diamonds. There are 30 of them, each of them worth 3 lakhs, though as it turns out later, they are worth 6 lakhs each. But then how, why and where does that indeed happen, one has to check out 'Delhi Belly' which is easily the most riotous of the flicks that have hit the screens this year.Move over glossy, mega-starrer, slapstick films, it's time for some in your face humour. A humour that may either be denounced by the moral patrols or be revered by people who don't mind calling spade a spade... and the film to bring in some brazen humour is Aamir Khan Productions' Delhi Belly. Whether it really gets loved by the mass or ends up being terms as crass remains to be seen.
Delhi Belly revolves around three flatmates cum friends Tashi (Imran Khan), Arup (Vir Das) and Nitin (Kunaal Roy Kapoor). While Tashi is getting married to his girlfriend Sonia (Shenaz Treasurywala), Arup gets dumped by his girlfriend and works for in a compromising job with a fugly boss. Nitin (Kunaal Roy Kapoor) is a photo journalist, a fatso hogger who faces detrimental aftermaths of his askew bowel movements. In one of the odd situations Nitin's stool sample gets replaced by a bottle full of diamonds that belong to a local gangster played by Vijay Raaz. How this error leads to wholesome comedy follows through a series of hilarious cuss or fart filled incidents.
Delhi Belly is a powerful combination of clever writing of Akshat Verma and slick director of Abhinay Deo. Yes, the film is non-conforming, brazen, wicked but it isn't apologetic about it. Instead it basks in the glory of being crude, gritty and most importantly realistic. There's hardly a scene that you find offensive. Delhi Belly is very comfortable in its space. Never in the entire film do you see anything appearing forced or needless. Even the English dialogues mouthed by the lead actors look very natural; a rarity in Hindi cinema. Very rare in Hindi cinema do filmmakers successfully tap the toilet humour correctly, and Delhi Belly is filled with many a fart sounds, stomach gurgles, flush noises and so on but all with purpose. It is a funnily crazy offering that will make you strip your sophistication and enjoy the grungy humour created by the three mad-cap blokes.
Delhi Belly has its target audience set. By all probabilities it will attract the multiplex opting, English speaking cults between the age group of 20s to 30s. And call it the astute business sense of the Perfectionist Aamir Khan, he keeps his investments in check by choosing a fairly promising new cast, a fresh scriptwriter and a very intelligent and low-budget script. Being a reviewer one cannot ignore the flaws and the only majorly glaring error is the setting. Hardly do you get the flavour of Delhi that's given excessive prominence so much so that it forms a part of the title. The entire drama could've been located elsewhere too without the slightest of difference in the script. In a bid to create humour, there are quite a few cinematic liberties taken too. But all the shortcomings get overshadowed by the brilliance of the actors and the humour quotient.
It's only the work of an intelligent director to know the limits of actor's capabilities and Abhinay Deo works around it brilliantly. He very smartly allots scenes to the otherwise straight-faced Imran Khan making him do full justice to his role. Vir Das and Kunaal Roy Kapoor show brilliant comic timing. Vijay Raaz is perfect as the gangster. Shenaz Treasurywala is average while Poora Jagannath who plays Menaka is very confident and has great screen-presence for a first timer. One cannot miss the mention of the maverick music by Ram Sampath that has nation grooving to it! The songs that have topped the charts all blend perfectly in the backdrop according to the situation. But it's the Aamir Khan number Disco Fighter that takes the cake purely for the performance of the acting genius. The way he spoofs Mithun Chakraborty is hilarious. To sum it up, Delhi Belly is a powerful combination of clever writing, brilliant story and crazy, grungy humour.
