KIS KISKO PYAR KAROON (KKPK)
Comedy
film with Kapil Sharma
An
assessment with a note on media critics
(Who Should I
Love? May be its English Title)
The most
hilarious movie – Kapil Sharma’s debut film – Kis Kisko Pyar Karoon – is a
treat for eyes, ears and heart. It is a
must-watch-movie for those who wish to seek pure humour, subtle dialogues,
double-meaning words with sentences fully twisted, intermingled and moulded in
joyful romantic setting. It is a riot of laughter.
The duo -
producer-director – Abbas-Mastan has given reasonable liberty to Kapil Sharma
to come out to true form and colours. Perhaps
the movie is so moulded in Kapil’s persona intrinsically that it is difficult
to say that Kapil is meant for the movie or the movie is meant for Kapil. Abbas-Mastan’s first and last choice for the
script in hand was Kapil Sharma and he has acted in the film so nicely with the perfection of an artist that no body can imagine that he is for the first time appearing on a silver
screen.
When Shakespeare
wrote ‘The Comedy of Errors’, he based the play on the crisis of mistaken
identity which was the central theme of the story. It later became the foundation for most of
the creative writings on humour and comedies.
Creating confusion, absurdity and illogical situations, thus became the
integral part of the writings on humour and buffoonery. Relying heavily on impossible happenings
became generally acceptable phenomenon to produce comic plays and humorous
stories including puns, word play and slapstick. Humour thus became a part of literary pursuit
and artistic presentation. It started
influencing our lives and writings through plays, stage shows and movies at
large.
Humour is
humour. It should be taken lightly and
not with the mind-set like that of Mamata Banerjee. It is because humour sprouts out of absurdity
and illogical behaviour. Don’t put
meanings to it. The best way is to
accept it as long as it keeps the audience engaged with joyful tears filling up
the well of eyes which happens when one gets a full throated laughter. Bollywood had lost this humour-tradition long
back with the disappearance of Raj Kapoor along with the trail of Johnny
Walker, Mahmood and Mukari and, of late, with the exit of Govinda from the
scene. However, the old time humour was
created through sporadic attempts made by the hero or by the side line story
developed through junior artists. But
humour could not get the centre stage of film making. Recently, a few movies have been filmed like
Sajan Chale Sasural, Garam Masala and No Entry etc. but they have been surfaced
just on the basis of forced humour or farcical situations. They lacked natural delivery of dialogue and
effective performance.
Kapil Sharma has
brought humour to the mainstream of Indian cinema and hopefully with
sustainability, respectability and acceptability in larger context. Kapil has his own brand of humour. It is intelligently produced with perfect
sense of timing and spontaneous delivery of words, phrases or sentences. He has marshalled this art through his
stand-up comedy shows. These shows were
almost missing or rarely adopted in Indian entertainment industry. Shekhar Suman and Raju Srivastav had put
some efforts in this direction but they could not give comedy a structure and
sustainability of its own. They remained
individualistic in their approach. Kapil
Sharma has tried to give a framework, purpose and the basis of its utility to
those who like to enjoy stand-up comedy as a form of entertainment. Others have come up like AIB but they are
debased in their form, style and approach.
It was with this
backdrop that Kapil Sharma rose to a high pedestal and reached the silver
screen. The movie KKPK produces a type
of humour which never touches farcical situation. It is undoubtedly the humour par
excellence. The hero – Kapil –weaves out
a cob-web story to be entangled himself in its labyrinth but also comes out of
it comically, pathetically and tragically.
However, the hero never loses sympathy of the audience till the end of
the story.
Those who
understand humour as a part of literary and cultural aspect of life would never
question the logic of situation or say that it does not work. For example, a film critic or a film news vender
– whatever you say – has criticised the hero of KKPK for “under playing its
comic side, allowed drama and romance to take centre stage which did not quite
work”. This is an idiotic way of putting
things and the critic does not understand the humour in its true sense.
Humour by nature
thrives and prospers in its absurdity.
Logic is its first victim. But it
is the art of acting or the director’s role which protects from getting it fall
into a farcical situation. Kapil’s
humour does not annoy the audience. It
is acceptable in its various shades and forms.
It is not isolated from the real life situation. It keeps its comic charm intact and allows it
to be exposed in various styles of sublimity, relief and emancipation. It never spoils the taste and ambience or
mood. It provides deep understanding to
overcome tension. Another film critic of
a TV show has criticised the hero of KKPK and added that if he wanted to come
out of the idiot box he should have opted for less idiotic script. This unsolicited advice is neither needed nor
desirable and Kapil Sharma knows his mind, art and skill quite well. The critic
should take care of his own channel and the idiot box.
Those film
critics who try to find out logically sound story in a humorous script are
foolish enough to be rated with no stars.
Perhaps except The Hindu which is not a feed post and assesses the film
objectively, all others have lined up to pull down Kapil for his debut entry
into the film world for the reasons best known to them. When Kumar Shiv Ram Kishan married three
women within minutes in the movie it became a source of trouble and jealousy to
the print and electronic media as to how the hero could manage such an
opportunity when some of their associates could not find even one in their late
thirties or forties. This is unjust and
most unrealistic a situation. And
critics got a point in KKPK to term it a weak and idiotic story. But when our ‘President of Immortals’ can
marry Rukmani and in addition can have a girlfriend-devotee, Radha, why can’t we the
mortals have two, three or four wives for the sake of mere fun and humour or
just for Beti Bachao……Andolan? The hero
saves the lives of three women whom ultimately he marries. The hero of the film KKPK has been painted as
a rich man but his parents not-so-rich who have traditional habits and are
separated for the last 15 years. For the
media-film-critics it is a matter of enquiry as to how the hero acquired so
much of wealth even without being a politician or without a scam to his credit
and purchased in Mumbai three/four flats of a high-rise building. The film critics want to bring the whole
matter to Enforcement Directorate (ED) and Income Tax Department to make the
situation more realistic and convincing.
No Problem. Again, the media
reporters are unable to digest the conversion of Newton into Nutan and
inversion of established scientific theory of gravitation and negation of
biological respirational process to be shown through chest (and not by nose or
mouth).
The story is well
knitted and planned with a definite beginning, middle, climax and end. The middle part of the film moves rapidly and
reaches the climax just before the intermission where Kumar Shiv Ram Kishan is
entrapped in his own doing with no way out.
How wonderfully Kapil Sharma acts under the influence of liquor, stages
after stages, pegs after pegs, is a scene to watch with full attention. It is a drama in monologue with perfection of
an artist, an actor and a character totally engrossed in the persona of Kapil
Sharma. For a moment the audience
forgets about Kapil and Kumar Shiv Ram Kishan as a worldly man appears, as
normal as a man of audience, quite entrapped in the wrong doings of mundane
affairs without any fault of his own and with no clue to find out a
passage. This is Kapil at his best and
seems to have surpassed Devdas in action by any of the actors of the present or old
times, dead or alive, though under different situation but with the same
intensity, not for the lost-love but for the love of life. Nothing can be so realistic as creating
pathos and pity on self in a drama full of humour and comic situations. Kudos to Kapil for the performance!
The story of KKPK
moves around the hero with three wives and a girlfriend. On every step one finds a funny situation –
illogical but humorous. Kumar Shiv Ram Kishan
is four-in-one character - unbelievable - but exists solid in one frame. He is a free conscientious citizen, wealthy
to the core, allows himself to lend helping hand to girls in distress (perhaps
inspired by his Mun-Ki-Baat) and marries spontaneously. The drama is ridiculous
but believing the unbelievable is the crest of humour. Theoretically, it is perfect and even
Shakespeare nourished unconvincing, absurd and illogical situation to create
humour. It is a story loaded with
heroines and all of them get chance to perform their role turn by turn. Mostly they are not established girls of film
industry but they have acted normally well.
They all seem to be funny in their presentation and outlook. One can mark this aspect from female side
i.e. Manjari Fadnis (as Juhi), Simran Kaur Mundi (as Simran), Sai Lokur (as
Anjali) and Elli Avram (as Deepika – girlfriend). Towards male characters, Varun Sharma (as
Karan) is very impressive and is the second prop of the story after Kapil
Sharma. He creates humour by redefining
the laws of nature which appeal equally to classes and masses. Sharat saxena acts nicely as father of Kapil
and equally impressive is his mother Supriya Pathak. Music given by Sisil Amrute is attuned to the
demand of the script and songs. One
cannot demean the role of Kam-wali-Bai (Jamie Lever) who intermittently heightens the pitch
of the comic situation. Not a single
character in the story is out of place and the audience has already pronounced
its verdict: the film is bound to reach the landmark of collecting one hundred
crore of Indian rupees or more. Well
done director – duo! You have conceived
the story in pictures and scenes marvellously.
Your imagination of instant marriages, the concept of cocktail tower,
Kapil’s monologue delivery, the crisis of Karva Chauth and the confusion at the
super market – all have added new dimensions to your directorial skill. You have presented humour in its true
perspective and understood better than what the media – print or electronic have projected. It is for media consumption to do their homework
with the following definition to remember:
Humour is super
understanding of revealing and presenting the unbelievable and absurd situation
artistically, creating confusion and crisis of mistaken identity and narrating
it convincingly, exposing various forms of relieving tensions and emancipation
from negativity of ideas and bringing man and society to the sphere of finding
some rare moments of happier and joyful life.
The film KKPK has
justified the purpose of achieving its goal theoretically and practically quite
well.
