There is always a feeling that the film might get better at any stage. But that’s never the case. It’s the other way round.
A man imitating a blind. A police chief heading investigations on rape cases and caste discrimination. A man, in his twenties, utterly surprised to know that his mother is pregnant. A guy becoming a father of many by donating his sperm. These are, and many more, the avatars donned by Ayushmann Khurrana in his films. The actor has made a name for himself as a guy who does all those off-beat roles and has, more often than not, come out on top. Ayushmann has this knack of making the characters that he plays look supremely engaging. He plays the role of most sought-after ‘girl’ by the men and women in Dream Girl (not to be confused with Dream Girl that released in 1977). As a character that juggles between being a man (Karam) and a woman (Puja), he looks convincing in this film. But that doesn’t save the film from going through these phases – Bad, Worse and Ugly.
We are so close and yet so far – which is basically what Director Raaj Shaandilyaa’s Dream Girl is addressing. It points out the problem of loneliness. It highlights the lessening distances as well as the widening gap between each one of us in this connected world. But to make you realise this scenario and talk more intensively about this, the film doesn’t have a great narrative at its disposal. It tries a lot of comedy. A very few dialogues do seem humorous. (In a scene, Karam, impersonating as Puja on a phone call, indignantly clarifies that he is not a Taj Mahal but a Qutub Minar). But almost every other scene, that tries to be hilarious, turns out to be annoying and frustrating. It, then, resorts to throwing in some romance where the love between Karam and Mahi (Nushrat Bharucha) never seem to be of any relevance and vanishes into thin air. There’s always a song featuring in several films in Bollywood, if not all, to keep its audience entertained and engrossed. Dream Girl has it too. Radhe Radhe, in the composition of Meet Bros, that comes towards the end, is captivating and energetic to listen but doesn’t help the movie’s cause.
The film also has plenty of other characters who, apart from Vijay Raaz who plays a drunkard-talking-poetry, neither seem interesting nor funny even though they try to. It’s Ayushmann who holds you tight right until the end. There is always a feeling that the film might get better at any stage. But that’s never the case. It’s the other way round.