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Saturday 17 September 2011

Mere Brother Ki Dulhan (2011) - Watch Online

Watch Online Mere Brother Ki Dulhan
A young man tries to arrange a marriage for his brother, but finds himself falling in love with the chosen fiancée.
Director : Ali Abbas Zafar
Writer : Ali Abbas Zafar
Stars : Imran Khan, Katrina Kaif and Ali Zafar

MERE BROTHER KI DULHAN - Theatrical Trailer




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Starring: Imran Khan, Katrina Kaif, Ali Zafar
Directed by Ali Abbas Zafar
Rating: **
The story of Mere Brother Ki Dulhan is evident from the title itself. It’s a rom-com about a boy who falls in love with the girl he’s chosen to be his brother’s bride. In the face of such a one-line story, you’d expect other elements in the film to keep the interest going—sparkly situations, funny gags, witty lines, zestful songs, loveable characters, peppy performances. And, of course, sympathy and connect with the lovers. Sadly, there’s almost none of the above.
MBKD is a lengthy film in which you pray for the interval and the end to come soon. It starts with the now famous “matrimonial si aankhen” song, which is loaded with significant nods to popular films—from Dabangg to Dil Se. Later, another nudge-nudge, wink-wink nod to Dil Chahta Hai follows, making you wonder when Yashraj flicks will stop referencing other popular films and just be themselves.
Ali plays Luv who breaks up with his long-standing girlfriend in London. He puts the onus of choosing his bride on younger brother Kush (Imran). The one Kush finds perfect is someone he had himself met and felt attracted to five years ago. Then on, it’s one long preparation for a great Indian wedding, interspersed with never-ending song ’n dance set-pieces. From the start, in the name of being funny, the film and its actors get incredibly loud. Ali sports a thick Punjabi accent, Imran, a prominent pout and Katrina, a blank look even when shouting out aloud. On paper, hers is the meatiest role. A supposedly wild, but nice girl. The type who will drink beer with the guys but will not go to bed with them; who will “never cross the line”. Of course, there’s something fundamentally wrong with the characterisation but Katrina doesn’t help things either. She’s the weakest link. Sporting smoky eyes, playing the electric guitar awkwardly and doing a cringe-inducing take on Dharmendra’s “suicide” scene in Sholay is certainly not enough to make a character appear wild. There have been many mad, rule-bending women in Hindi cinema—from Maya in Ijaazat to Jab We Met’s Geet, from Guide’s Rosie to Jasbir/Janice in Hare Rama Hare Krishna. We connected with them because they felt real. Katrina’s Dimple (Dee) is as artificial as a doll, inane and infantile.




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