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It all begins in Ayodhya where Prem Dilwala (Salman Khan) is the self-appointed keeper of the collective social consciousness. PRDP leaves you asking one big question: Are we ready to gulp down a mouthful of cheesy romance that is high on ideals and moral values? Cut to 2015 and Barjatya has now rehashed the same formula in his latest venture, Prem Ratan Dhan Payo (PRDP), complete with a masterstroke: He roped in Salman Khan to up the film’s star value a million notches. His Vivah didn’t exactly set the box office on fire, at least not on the lines of what his earlier films Maine Pyar Kiya, Hum Aapke Hain Koun and Hum Saath Saath Hain did on the ticket windows. And Ms Sonam Kapoor is lissome and quite lovely, but her slim derriere is no match for Ms Madhuri Dixit’s saucy, jutting butt in ‘HAHK’: nope, nothing in ‘PRDP’ for us, in the India of 2015.Ĭredit : Indian Express PRDP Review by Hindustan TimesĪ lot has changed in the Hindi film industry since 2006, the last time Sooraj Barjatya’s name flashed across the screens as a movie’s director. ‘HAHK’, for all its extended home video ‘sagaai-joota-chupaayi-shaadi-vidaai’ was all of a piece : in ‘Prem Ratan Dhan Paayo’ nothing belongs, nothing is a fit. Especially if it has Salman Khan, after all these years of practice, sliding effortlessly into being Prem, and lifting the film as much as he can, even managing quite miraculously not to giggle when his co-star, the-laden-in-tasteful-zardozi-and-industrial-weight-polki-diamonds-Kapoor, hands him a feather, very ‘Mughal-e-Azam’ style, in between her other clothes-horsing and jiggle-jaggling.īut not in this fumbling, confused, derivative way, where you can clearly see a director out of his depth and comfort zone, which had already started feeling moth-balled a while back : his last real success was ‘Vivaah’ in 2006. There’s always room, you suppose, for yet another reimaging of the Ramayan, and its million stories. ‘Samdhijis’ and ‘mamajis’ and ‘mausijis’ in a Barjatya film are par for the course, but a king and a consort and blinding bling and a glittering glass palace? Karan Johar and Sanjay Leela Bhansali, where are you? But it’s almost as if this extended interlude is the only thing with any zest in this thing : the rest of it plays out as an out-dated rehash of the director’s own films ( including ‘Hum Saath Saath Hain’ which I am guiltily fond of) embedded in an outlandish, improbable plot. A zingy retro Ramayan is being enacted, with men playing female parts, and you settle down for some fun. ‘Prem Ratan Dhan Payo’ begins well, with Salman being set up as a playful Ram ‘bhakt’ ( again, after ‘Bajrangi Bhaijaan’) and Dobriyal playing the hero’s-best-friend ( remember Laxmikant Berde in ‘Hum Aapke Hain Kaun’?). And even though I sometimes still find it difficult to believe that a ‘Hum Aapke Hain Kaun’ swept the nation in 1994 ( yeah, we know, we know it came at the right time and captured an audience heartily sick of the vulgarity and violence that Hindi cinema of the time had fallen prey to), Barjatya rescued his films from becoming maudlin messes with his gift of creating unexpected flashes of sweetness and emotional hooks. Barjatya’s canvas has been the unhurried interplay between families and their zillion ‘rishtedaars’, and the gentle, chaperoned, approved ‘nonk-jhonk’ between lovers. We don’t need the unbelievably thin script to tell us that the pauper will provide life lessons to said ‘bhai’ ( Neil Nitin), ‘behen’ ( Bhaskar), faithful factotum (Anupam Kher), and toss out pro-tips to his look-alike to win over the ‘rajkumari’ (Sonam Kapoor). They are identical looking, so you know where this is going from the get go : out pop the evil step brothers and deluded step sisters, faithful foot-soldiers ,a pretty princess, a dastardly plot, and tada, there’s your switcheroo. We get not one but two Salmans for the price of one : a commoner called Prem Dilwale ( a play on SRK’s next, also called ‘Dilwale’?), and a prince called Vijay.
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‘Prem Ratan Dhan Payo’, also heavily colour-coded via the Ramayan, draws heavily from Barjatya’s previous work, with one glaring cosmetic difference : he sets it not in homes that people like you and me live in, or relate to, but in a grand palace.