DUM MAARO DUM
The second most striking point about Dum Maaro Dum (DMD) is that the main participants are those who themselves have no great box office affiliations, but are better known because of their close affiliations with great movie moghuls of yester years. To begin with we have as director Rohan Sippy, whose earlier attempts in Kuch Na Kaho and Bluff Master were fairly forgettable: he is the son of the great director Ramesh Sippy of Sholay fame. Then, we have the hero, Abhishek Bachchan, who is still better known as the Big B’s son and the other co-hero, Rana Daggubati, who being just a film old (Telugu Film: Leader) is obviously better known as the grandson of veteran film producer D Rama Naidu and veteran actor Akkineni Nageshwar Rao and nephew of Telugu Super Stars Nagarjuna and Venkatesh. And then we have Prateik Babbar (who himself is fast shaping up to be an excellent actor), but, who as of now, is better known on account of his parents.
The female interests in the movie have very small roles: Vidya Balan and Deepika Padukone, who are rightly called as guest artistes and Bipasha Basu, who as Rana Daggubati’s romantic interest has a slightly larger role. Govind Namdeo, who began his film foray by playing the role of a corrupt cop, continues in the same strain and Aditya Pancholi, a one-time aspirant for hero roles dons the role of the goon with the public face of just the opposite.
Notwithstanding the above, the most important striking feature of DMD is that as a whole it strikes correctly and turns out to be one of the better made thrillers in recent times. Partly contributed by the excellent performances by the lead artistes Abhishek (who seems to be at his best when essaying cop roles: remember DHOOM 2?), and the 6 feet 3 inches tall Rana (in his debut Bollywood venture) and Prateik Babbar; partly contributed by very slick direction and editing and partly contributed by the zappy musical score by Pritam, DMD scores because of its pace and its storyline (Sridhar Raghavan). The dialogues are also hard-hitting and I honestly think that the dialogue which is expunged by censors back in India for its apparently anti-Goa sentiment sounds quite contextual and did not sound out of place when I saw it being mouthed here. Loosely translated, it goes something like this: Here (in Goa), booze is cheap, women come cheaper! There are deaths galore, but the movie is not macabre in the least and Jaideep Sahni’s (of CHAK DE INDIA fame) lyrics sound pedestrian and philosophical at the same time. Sample this excerpt from the much promoted Dum Maaro Dum re-mix number filmed on the so-called sensuous swaying by Deepika Padukone (not a patch on the feelings which arose when Zeenat crooned this number in Hare Rama Hare Krishna): Unche se Unche Banda, Potty pe Baithe Nanga!
Fox Star Movies second Bollywood production after My Name is Khan is sure to be a multiplex success, but will not be a box-office winner. Did the makers know about this in advance and hence decided to dare to release this in the thick of IPL season, so that in case it failed, that could be a convenient alibi and in case it succeeded, they could say it succeeded against all odds?
DMD has its share of incredulities (including a harmless indicator board shot of a direct flight from Goa to JFK in USA); but if you gloss over those, you will not be disappointed! Since many of my friends have been insisting on my providing a rating at the end of my reviews, I am including it from this review.
RATING: 3.5 out of 5