Dulha Mil Gaya Review

Cast: Fardeen Khan, Ishita Sharma, Sushmita Sen, Johny Lever, Vivek Vaswani, Suchitra Pillai, Mohit Chadda and Shah Rukh Khan.
Director: Mudassar Aziz.

The story is archaic, the treatment mediocre, the theme retrograde and the wit dim. What redeeming feature, does, the film have? Search and if you are a Sushmita Sen fan, then take courage and you could sit through the film.
Imagine a film of this Punjabi lass Samarpreet (Ishita Sharma) journeying to Trinidad and staying back to win her wayward hubby Donsai (Fardeen). Donsai in the first place is a rich play boy who simply does not believe in the institution of matrimony and girls dote on him. Papa leaves a will and plays spoil sport by conditioning the inheritance of over five billion dollars to a marriage with the Punjabi kudi.
Donsai – or Tej Dhanraj thus comes to Punjab, weds and leaves behind Samarpreet. A few months’ later Samarpreet lands up in Trinidad where Donsai is having fun and runs into top notch model Shimmer (Sushmita Sen). Shimmer now plays Prof Higgins and does a repeat of what Shammi Kapoor did to Rajshiri in Brahmachari in the 60s.
To complete the picture, you have Jasmine (Suchitra Pillai) and Lotus (Howard Rosemeyer) who are at Shimmer’s house filling space. There is local VJ Jigar (Mohit Chadda) who is called in to play twelfth man in a love story. Shimmer too, places career over love and keeps Richie Rich Pawan Raj Gandhi (Shah Rukh Khan) waiting in the wings. With this kind of a story line you simply don’t care what is happening or is to. Dull to a vice and with jokes that only feather can tickle, the movie is imminently avoidable.
Whatz wrong with the Sush – Khan Magic of Main Hoon Naa. Simply missing Fardeen (flabby) is woefully out of touch and looks faded and plump. For some inexplicable reason he has a frown fixed constantly on his face. Debutant Ishita is alright and if she gets another film, it will probably be opportunity to asses. Not now. Sushmita Sen is the only person who may receive some grudging compliments. Her serene presence is awesome. One wonders what strategy this ‘prima-diva’ of our cinema follows to choose a film. Certainly not script, not director nor co-stars. A shocking filmography of bad films, it’s her sheer class that has got her this far. She would do well to re-examine her premise.
This film is a yawn and is a surprising release in a festival season. Concentrate on the festival.
L. Ravichander