Hey how’s everybody!!! Hope you guys are doing good.
hey don’t worry that i am being bored to you i know this
movie is a flop but the tracks of the movie are damn
romantic! Huh!!! Common lets come back to the tracks.
In this movie the track name Barhaan Dil & Behoshi
Nasha Khushboo is sung by our sweetest and down to
earth singer Shreya Ghoshal! So the tracks are damn
romantic! Got it guys!! This two tracks will take you
in a beautiful world of LOVE!!! Just Romance Romance
Romance……..come back guys! The track Barhaan Dil
Is a solo track sung by Shreya Ghoshal. The track starts
from a type of old music. OLD IS GOLD!!! The track
feels like ghazal. Shreya ne ghazal bhi try kar liya and
she is successful as always. HATTS OFF DI!!! Track
runs for 5:10sec. Kuch pasandeda bol (lyrics) is track
ke “Dho kadam saath bas chale hum tum….hum safar
na toh the kabhi hum tum” in middle of track you will
get to listen a very soothing music.
Music ki baat aayi tho INSTRUMENTS ko kaise bhoole
So here we go…. Harmonium, Synthesiser, Dholak
(Tabla), Piano, flute!
This movie name reminds me the movie called “Main
meri patni aur woh” Rajpal yadav and Ritupaurna
Ghosh were the starcast!
Now lets move on to the track named Behoshi Nasha Khushboo
“Yeh teen lafz pyaar k maar dalti hain” it is sung by Shreya and
Udit Narayan. After a very long time Uditji and Shreya together!
The moment the track starts a beautiful flute music and combination of Piano.
Udit starts the track and shreya continues with her honey
soaked voice. Romantic Track! Runs for 8:19sec….
Ish gaane k kuch pasandeda bol “Behoshi nasha khushboo
kya kya hamari saason mein….” The evergreen track
which will take you to a romantic world “Reh rehke
dhadakta hain ehsaas tumhare yeh bheige hain pasine
mein thandi si jalan hai saason mein….”
Composition of this tracks is done by Shujaat Hussain Khan and lyrics by Amithab Verma.
Starcast: Ashwin (Prashant Narayan)
Neeta (Aruna Shields)
Movie Review:-
Mr. Singh Mrs. Mehta is the title of the film though incongruously the lead protagonists happen to be Mr. Mehta and Mrs. Singh. First-timer Pravesh Bhardwaj’s direction keeps you as much puzzled as much as the intentional inversion in his film’s title.
With a painter protagonist going through artistic block, snail-paced tempo, self-styled aesthetic female nudity, circumstantially complicated human relationships and a climax so symbolic and subtle that you never comprehend when the end credits roll, Mr. Singh Mrs. Mehta meets all the requisite criteria of the alleged art-house cinema. Nothing wrong about it other than the fact that though the film expectedly runs out of entertainment, this one also fails to enlighten or even emotionally touch, move or bind you.
Artist Ashwin Mehta (Prashant Narayanan) paints his wife’s toenails more than he colours the canvas. Wife Sakhi Mehta (Lucy Hassan) is having an extramarital affair with Karan Singh (Naved Aslam). Karan’s wife Neera Singh (Aruna Shields) discovers her husband’s infidelity and seeks solace in Ashwin’s company. Though the adultery is openly evident since start, strangely both Ashwin and Neera never confront their respective partners and choose to have loyal illusions of their spouse.
Extensive footage of nudity seeps in the screenplay on the pretext that the artist can overcome his block by painting nude female form ala Leonardo DiCaprio in Titanic or Randeep Hooda in Rang Rasiya . Surprisingly Neera initially shies away from posing nude despite the fact that she has been moving around naked in Ashwin’s warehouse for a major part of the film. And hold on... before your imagination runs wild, the fact remains that the continually censored blurs that ‘shields’ Aruna’s nude body will irritate you more than titillate.
Director Pravesh Bhardwaj spends liberal and lethargic screen-time in establishing the chemistry between Ashwin and Neera through corny conversations, transition songs and nude sketching which tends to get monotonous after a while. But when the relationships actually go crisscross and complicate in the concluding reels, Bhardwaj wraps up the narrative subtly and hastily without much clarity on the character correlations and conflicts, forcing you to do the guesswork.
With the film talking about Indian couples (with no notable NRI nuances) with desivalues in Hindi language, the London setting makes absolutely no sense. Moreover with the outdoors restricted to some lame lanes of London, nothing distinctive is derived from the foreign setting either. And if he went ahead with a UK setting, one wonders why at all Bhardwaj opted to make the film in Hindi language? At least he could have spared Aruna Shields from struggling in her desi dialogue delivery and saved the audience from such illegitimate lousy lines like, “ Mera pati hamesha tumhari patni ko ghumata rehta hain, tumko bhi mujh par kharcha karna chahiye ” (My husband always takes your wife out, you should also spend on me).
Shujaat Hussain Khan’s ghazal based soothing soundtrack goes unnoticed in this film. Surprisingly the background score sounds suspiciously similar to ‘ Aye Khuda ’ track from Paathshaala .
The performances are average and never rise above the lackluster script. Prashant Narayanan is capable of much better. Aruna Shields is passable but doesn’t have anything exceptional to display including her anatomy. Sadly, both the artist and the muse fail to amuse in this colourless cinema.
With a painter protagonist going through artistic block, snail-paced tempo, self-styled aesthetic female nudity, circumstantially complicated human relationships and a climax so symbolic and subtle that you never comprehend when the end credits roll, Mr. Singh Mrs. Mehta meets all the requisite criteria of the alleged art-house cinema. Nothing wrong about it other than the fact that though the film expectedly runs out of entertainment, this one also fails to enlighten or even emotionally touch, move or bind you.
Artist Ashwin Mehta (Prashant Narayanan) paints his wife’s toenails more than he colours the canvas. Wife Sakhi Mehta (Lucy Hassan) is having an extramarital affair with Karan Singh (Naved Aslam). Karan’s wife Neera Singh (Aruna Shields) discovers her husband’s infidelity and seeks solace in Ashwin’s company. Though the adultery is openly evident since start, strangely both Ashwin and Neera never confront their respective partners and choose to have loyal illusions of their spouse.
Extensive footage of nudity seeps in the screenplay on the pretext that the artist can overcome his block by painting nude female form ala Leonardo DiCaprio in Titanic or Randeep Hooda in Rang Rasiya . Surprisingly Neera initially shies away from posing nude despite the fact that she has been moving around naked in Ashwin’s warehouse for a major part of the film. And hold on... before your imagination runs wild, the fact remains that the continually censored blurs that ‘shields’ Aruna’s nude body will irritate you more than titillate.
Director Pravesh Bhardwaj spends liberal and lethargic screen-time in establishing the chemistry between Ashwin and Neera through corny conversations, transition songs and nude sketching which tends to get monotonous after a while. But when the relationships actually go crisscross and complicate in the concluding reels, Bhardwaj wraps up the narrative subtly and hastily without much clarity on the character correlations and conflicts, forcing you to do the guesswork.
With the film talking about Indian couples (with no notable NRI nuances) with desivalues in Hindi language, the London setting makes absolutely no sense. Moreover with the outdoors restricted to some lame lanes of London, nothing distinctive is derived from the foreign setting either. And if he went ahead with a UK setting, one wonders why at all Bhardwaj opted to make the film in Hindi language? At least he could have spared Aruna Shields from struggling in her desi dialogue delivery and saved the audience from such illegitimate lousy lines like, “ Mera pati hamesha tumhari patni ko ghumata rehta hain, tumko bhi mujh par kharcha karna chahiye ” (My husband always takes your wife out, you should also spend on me).
Shujaat Hussain Khan’s ghazal based soothing soundtrack goes unnoticed in this film. Surprisingly the background score sounds suspiciously similar to ‘ Aye Khuda ’ track from Paathshaala .
The performances are average and never rise above the lackluster script. Prashant Narayanan is capable of much better. Aruna Shields is passable but doesn’t have anything exceptional to display including her anatomy. Sadly, both the artist and the muse fail to amuse in this colourless cinema.
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