Fanney Khan

If you want to torture someone take them for this movie.

The movie was below average, the star cast were sincere and tried their best.

As i watched the movie i realised there is an imortant parental message in the movie. The movie is essentially a story of a daughter, mother and father. The parents are poor yet have they have totally spoilt their daughter. She disrespects her fatber at every stage and the mother defends here by blaming the father for upsetting her. The father tries everything in the world to keep his daughter happy and to fulfil her dreams, to the point where he resorts to kidnapping. The daughter is totally rude, spending money and taking loans to buy dresses without asking for consent from the bill payer. At the end this spoilt, rude child makes it.

This is message of this movie. Like i said a pathetic movie somewhat tolerable due to a 1st class set of actors.

FANNEY KHAN is an official remake of the Belgian film IEDEREEN BEROEMD aka EVERYBODY'S FAMOUS. While the original film was shorter and had dark comedy, thereby maximizing impact, FANNEY KHAN on the other hand moves at its own pace and is too melodramatic. While this may work for some, others might find it unconvincing. Atul Manjrekar, Hussain Dalal and Abbas Dalal's screenplay is lackluster at places but scores at a few places. Hussain Dalal, Abbas Dalal, Jasmeet K Reen and Athar Nawaz's dialogues are simple but quite funny in some scenes.

Atul Manjrekar's direction could have been better and that in turn would have made the film better. There's no doubt that he handled some scenes exceptionally well. However, at many places, he loses the plot. The storyline is quite illogical in the first place and it needed an expert hand to ensure the film works logically. Unfortunately, Atul partly fails in his endeavour.

FANNEY KHAN has a decent commencement and sets the mood of the film. The introduction of characters however is not that impressive. The track of Adhir and Jinal (Swati Semwal) however is interesting. The film picks up thankfully once the kidnapping takes place. The manner in which Fanney Khan and Adhir make futile attempts to scare Baby Singh makes for a great watch. In the second half, the film drops again and hooks viewers only towards the end. The climax would be loved by a section of viewers as its quite moving. But some might find it too illogical.

The performances however are too good, thereby helping the film. Anil Kapoor is in a great form and is the soul of the movie. The emotional scenes work thanks to him. One can feel his pain and one can't help but hoot for him even when one knows that what he did isn't right. Rajkummar Rao genuinely puts his best foot forward and is endearing. He raises laughs in the kidnapping scene. Aishwarya Rai Bachchan looks like a million bucks and adds a lot to the film with her supporting role. Pihu Sand seems a bit irritating at places but she makes up for it with her touching performance in the climax. Divya Dutta (Kavita) is dependable as always. Girish Kulkarni as usual plays the negative part quite well. Satish Kaushik (Kadar bhai) has an interesting part but is wasted. Barbie Rajput (Rhea), Swati Semwal and Asif Basra are decent.

The songs are appropriate for the sequences in which they appear but could have better since the film is essentially a musical. 'Achche Din' is the best of the lot. 'Tere Jaisa Tu Hai' comes next and it comes at a crucial juncture. 'Mohabbat' serves as a fair introduction for Aishwarya. 'Fu Bai Fu' has interesting lyrics. 'Halka Halka' is the most unconvincing portion of the film as it shows a prominent singer, whose kidnapping has shaken the entire nation, roaming around freely! Tubby - Parik's background score goes well with the various moods of the film.

S Tirru's cinematography is quite effective. Ajay Vipin's production design however is nothing great although it works in the house scenes of Fanney Khan. Monisha R Baldawa's editing is passable. Eka Lakhani and Manish Malhotra's costumes are appealing, especially the ones worn by Aishwarya.

There are a few films where you get to see classy actors like Anil Kapoor and Rajkumar Rao together but acting alone cannot save a film. This is exactly the case with 'Fanney Khan'. A father trying to make his daughter a big name in the industry might sound interesting to begin with but Atul Manjrekar has messed it all up. The screenplay and the direction are by far awful. It's a story that could've been so much more but an underwhelming execution by the crew has ended up in sheer disappointment. The film is dragged and has a lot of loopholes, there is no such aspect in the film that engages the audience apart from Anil Kapoor's performance. Anil Kapoor is definitely the only good thing in the film. His act is what made me sit through this whole film. Rajkumar Rao was expected to have an impact as usual but the script doesn't let him come out of his shell and he is not utilized properly. Aishwarya is okay-ish with her performance, she looks pretty but that doesn't hide the fact that she does overact in quite a few scenes The music is decent but the story is so boring that you wouldn't be interested in the songs. Overall, the film is a complete waste of talent and money. SKIP IT

I don't know if I should take Atul Manjrekar's Fanney Khan seriously or lightly. On one hand it shows the struggle of a man (Anil Kapoor) who wants his daughter to be a star singer while on the other it resorts to screwball comedy to make me laugh. These two shades of this comedy drama hardly blend, while also giving me withdrawal symptoms. A lack of logic in the plot - starting from the point where the man kidnaps a famous singer (Aishwarya Rai) to the climax - pushes Fanney Khan into a territory that can be best defined as contrived storytelling. Everything is easy for director Manjrekar's characters, and thanks to some brilliant performances by Kapoor, Divya Dutta, and Girish Kulkarni, it feels effortless. I am also not sure what the non-righteous climax is trying to convey - is it okay to be bad when you are fighting for a good cause? Is it okay to break the law and put someone's life in danger just because you are a naive, old man passionate about your daughter's future? Ridiculous as it seems, Fanney Khan ends like a fairytale without even shedding light into what happened to some of the characters. The only thing that it gets right is criticizing the notion that stardom is usually a product of luck and compromise, as it poses as a question in front of the man's daughter (Pihu Sand) several times, yet Rai's character sabotages it in one scene by taking a defensive when the man asks her the same question. Director Manjrekar is ahead of himself, in trying to compete with Advait Chandan's Secret Superstar (2017), in trying to show the dark world and politics of the music industry, in fighting taboos related to body shapes and stardom, yet the container he uses to serve his dish made me look at my family members and shrug. No, really. There's a scene sometime in the 15th minute where Kapoor's character mimics to an instrumental in front of his wife and daughter. It's a great screwball moment, inducing no laughter, but that's exactly when I turned to my mum and dad and we all shrugged referring to the dull madness that is happening on screen. Don't waste your time. TN.