De Dana Dan Hindi Movie 2009 Film DeDanaDan |ReVieW
Going by its casting, do not expect De Dana Dan to be a sequel, tribute or extension of the Hera Pheri series. Forget the threesome chemistry, there is hardly a single frame in the film where the trio of Akshay Kumar, Sunil Shetty and Paresh Rawal share screen space. Except of course for the trademark Priyadarshan style chaotic climax where again their chemistry is diluted (literally through flooding fuss) as the entire cast joins them for more commotion.
Nitin Bankar (Akshay Kumar) is a driver under debt and Ram Mishra (Sunil Shetty) is a courier boy who hasn’t delivered much in life. Though both have already assigned girlfriends (Katrina, Sameera) for them, the film still takes too long to come to point. Money is the need of the hour and so Priyadarshan does some hera pheri in the story – which means a kidnap. Just this time the duo kidnaps a canine and you wonder if the film is going to the dogs.
As you try to keep a count on the ever-increasing character artists, the entire cast checks-in a five star hotel. Soon the story takes the shape of the 1992 Hollywood flick ‘ Blame it on the Bellboy ’ which was remade in Bollywood just a year ago as ‘ One Two Three ’ (and also starred Sunil Shetty and Sameera Reddy). A comedy of errors ensues with characters doing Bhagam Bhag throughout the hotel.
Call it a ‘wardrobe’ disaster but Akshay Kumar is locked in one for practically an hour of the film’s runtime. With a seemingly lost Sunil Shetty and a screeching loud Paresh Rawal, it’s left up to the character artists to save the ship. But a flood is induced in the climax as the director seeks inspiration from another Hollywood flick ‘ The Towering Inferno ’ (1974) with each character going down the drain.
As the name suggests, De Dana Dan is a quickie flick which is hastily written, rapidly filmed, has swift storytelling and speeding characters giving you no time to breathe, gasp, feel, absorb react or relate. The film takes time to kick-off and nothing much happens in the first half. The second half gains momentum with cross-connections of characters inside the hotel. The more you attempt to keep a track of the individual tracks, the more it confuses you. The less you try to join the links, the more it binds you.
In fact, Lever-Yadav-Rawal keep the kinky kettle boiling for director Priyadarshan’s reunion of the male leading cast of Hera Pheri. No sequel, prequel or postquel, quite curiously De Dana Dan doesn’t assign sufficient footage to either Akshay Kumar or Sunil Shetty. Thank the lord, for the latter’s minimalism actually. He continues to be strictly oak. Eesh.
Sneeze aachhoo a couple of times and you might even miss out on Katrina Kaif, there only to exude the bimbettni quotient. Instead in the vein of the director’s Malaamal Weekly, this one goes ananas over its seasoned supporting players, even shoving the rarely seen thespian Vikram Gokhale (looking humungous, alas) into the fold. The less carped about the incorrigibly lechy Shakti Kapoor, the better. No zing in his stings.
As it turns out, DDD is a punishing snoozefest in the first-half its excessive length of some two-hours-40-minutes. Indeed you have to pinch yourself hard to keep your eyes half open in the pre-interval section. Totally Zzzzz-grade.
In the event if you’re late, very late, for this situational com-pom, not to worry. You won’t have missed much except 400 winks maybe. Mercifully, the tempo picks up halfway in this mix-yap-yap located in a Singapore “Hawtel” (pronunciation theirs). Zounds, its logo is shown constantly, presumably for discounted location rent – but honestly after witnessing the malarkey, only a miracle would entice you to check in there. Despair.
Anyway, count some 12 characters on the scene who are literally toppling over one another, once even as- four-men-on-top -of-one another to evoke a chhee-chhee Dostanasque comment.
Such asides apart, it seems the reason for the ceaseless farce is Akshay Kumar’s urgent need to get away from his tormentful boss (Archana Puran Singh, writhing, wriggling). She kicks butt (his), loves her dog ‘Mulchandji’ perversely and reduces Butt Boy to a nattering ninny. In collusion with Sunil Shetty, Butt seriously kidnaps the dog, and expects a huge pay-off. Oof.
The plot is incomprehensible beyond that point, cutting to the discounted hotel where a sangeet ceremony is on for..gasp..a dehydrated Chunky Panday and sulky Sameera Reddy. They seem quite remade for each other, but the screenplay sends the senior cast into a right royal tizzy . That’s fizzy only occasionally, at long last leading to a climax that’s a combo of the Titanic and The Poseidon Adventure. All the cast has to swim, drown, gulp, slide through corridors, look more distraught than all the loonies of It’s a Mad Mad Mad World and Kate Winslet-Leonardo Dicaprio bundled together. What to do? Some love stories have flood on them.
Admittedly, the water-gush scenes are technically skilful, far more detailed and impressive than the ones endured lately in Tum Mile.
In effect, then, the finale and the stray funny moments here amount to some 10 to 15 minutes which are worth a ticket-le-ke-dekko.
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