Awaara Paagal Deewana: A Hilarious Take on Gangster Comedy

Exploring the Comedy of Awaara Paagal Deewana

What can we anticipate from a film that hints at mental chaos right in its title? A wild, quirky, and entertaining laugh-fest? Indeed, we got that! Vikram Bhatt, who previously delivered a spine-chilling experience with Raaz, presents a clever and mostly enjoyable adaptation of Jonathan Lynn’s The Whole Nine Yards.

The original film wasn’t particularly remarkable. However, this Indian version, filled with eccentric twists that could baffle even the most skilled contortionist, impresses with its sharp writing, commendable production quality, unique action scenes, and outstanding performances.

Producer Firoz Nadiadwala, known for his earlier hit Hera Pheri featuring many of the same cast members, invested significantly to ensure that the humor is paired with glamour. Consequently, director Vikram Bhatt excels in this comedy far more than he did in the horror genre with the limited budget of Raaz.

Moreover, the film takes bold jabs at the culture of gangsterism, creating a blend that resonates with the spirit of burlesque.

The storyline is quite a puzzle. Awaara Paagal Deewana humorously explores the underworld. Unlike Dhawan’s poorly utilized cast, the stars in Bhatt’s film shine with delightful charm.

Instead of a straightforward adaptation, Bhatt chooses to reinvent the original. By taking The Whole Nine Yards, he goes the extra mile to elicit laughter. Akshay Kumar plays the fun-loving gangster Guru, whose malevolent brother-in-law Vikrant (Rahul Dev) enjoys creating chaos.

In a humorously crafted introduction, Om Puri (surprisingly out of character as a comical mobster) passes away, leaving his sinister empire to his resentful son Vikrant and the charming son-in-law Guru. The rivalry between these two characters sets the stage for an action-packed comedy. The Hong Kong-style action sequences, featuring Akshay Kumar soaring, throwing, and flipping through the air, add the perfect counterbalance to the humor.

Fortunately for Hindi cinema, and the comedy genre, Bhatt skillfully avoids the typical melodrama that often infiltrates Indian comedies. The laughter remains consistent as the narrative takes the audience to foreign lands, in more ways than one.

Set in New York (a location that occasionally shifts to Newark, justified by the comedy’s anything-goes motto), much of the comedic action unfolds in a charming American suburb. Here, a dentist named Anmol (Aftab Shivdasani), who is often bullied by his wife, finds unexpected excitement when gangster Guru (Akshay Kumar) moves in next door.

Drawing inspiration from Matthew Perry’s character in The Whole Nine Yards, Bhatt constructs a diverse cast, including the beleaguered dentist, his gangster-obsessed nurse (Arati Chabria), his nagging wife (Amrita Arora), and mother-in-law (Supriya Pilgaonkar). Adding the dentist’s father-in-law to the mix is a brilliant move, absent from the Hollywood original. Paresh Rawal, as the forgetful father-in-law, steals every scene with his comedic timing.

Dialogue writer Neeraj Vora, another highlight of this comedy, provides Rawal with a treasure trove of hilarious lines. As a result, Rawal’s character, who constantly forgets names, including his own, brings the house down with laughter.

While some characters, like Sunil Shetty and Aftab Shivdasani, have underdeveloped roles, Shetty, who showcased his comedic talent in Yeh Tera Ghar Yeh Mera Ghar, plays the tough goon with enthusiasm, though his character lacks depth. Johnny Lever, as Shetty’s sidekick, adds an extra layer of humor, proving that the entire cast is having a great time.

Besides Paresh Rawal, Akshay Kumar stands out with a well-defined role as the brooding mobster. The film showcases his talents as a fighter, romantic lead, and comedian. His comedic exchanges, particularly with the lovestruck nurse, are priceless.

However, the film’s humor falters in the second half, where shouting and chaos replace genuine comedic moments. The prolonged climax set in a desert, filled with flashy cars and exaggerated antics, becomes tiresome.

The comedy loses its momentum as it attempts to adhere to the conventional 180-minute runtime. Nevertheless, the humor is enjoyable while it lasts. The production design is visually appealing, with no effort spared to create an optical delight. Pravin Bhatt’s cinematography is conventionally attractive, and the backdrop enhances the characters’ presence. Anu Malik’s music, however, fails to elevate the film’s comedic aspirations, with one song, Jisse Hasna Rona Hai, awkwardly shot.

The narrative takes the characters to distant locations like Muscat and a bullring in Spain. One dreamy song featuring Aftab Shivdasani and Amrita Arora in NYC captures the still-standing World Trade Center in the background, reminding us of the importance of laughter in cinema and how rarely Hindi films offer such opportunities.