Producer & Director : Feroz
*ing: Introducing Fardeen Khan and Meghna Kothari, Raj Babbar,
Anupam Kher, Beena, and Smita Jaykar
Music: Anu Malik
Released on : October 30, 1998
WARNING: This film contains
many dialogues and scenes of an explicit sexual nature, as well as an immature handling of
adult themes. Planet Bollywood strongly recommends that it not be seen by children
under the age of 18.
Reviewed by: Mohammad Ali Ikram
Yuck! Yuck! And triple yuck! Prem Aggan is
officially one of the worst films I have seen in my life. Feroz Khan
is running from magazine to magazine claiming he is targeting an intelligent audience with
this monstrosity, but I doubt any intelligent person would enjoy it. Khan has always
had an eye for the vulgar and insipid, but this film takes the cake. The experience
of enduring it is quite seriously 'pain and agony'.
Wohi ghissi piti kahani. A rich,
mentally-deranged girl (Meghna Kothari), who cannot act
to save her life, falls in love with a literally poor, loser of a boy (Fardeen
Khan). The girl's father, a rich corporate tycoon (Anupam
Kher), objects to the union along with the girl's brother. Lover
boy's father (Raj Babbar) is an upright Armed Forces
official who helps his son achieve his goals. The rich tycoon catches the couple
red-handed as they sleep together in the hero's little shack (the heroine has tested the
hero's 'decency' a few seconds earlier). The hero gets beat up and the heroine is
forced to go to Australia to marry the man of daddy dearest's dreams; a drinking
womanizer. Post-interval the heroine becomes a drunkard and the hero sings the same
song for days on end until his papa lets him sell his motorcycle and go to win back his
beloved. In spite of the torture inflicted on the audience, unfortunately neither
the hero nor the heroine die at the end of the movie.
From where did Feroz Khan concoct the unbelievably
stupid scenes and dialogues in this movie. One cannot help but shake their head in
disbelief. For instance, it has been the heroine's dream, since the age of ten, to
jump off a cliff with her true love!?!?!? On her first 'date' with the guy, she
coaxes and coos, and they eventually take the dive. Excuse me? What kind of an
idiotic message does that send out to the minds of young impressionable youths?
Logic and common sense would dictate that the hero drop her off at an insane asylum,
instead of jumping off the cliff with her.
The dialogues, as already mentioned, are no better. You
have every single cast member delivering what appears to be an endless barrage of (dumb)
poetry, in an attempted Hindi Shakespearean style, replete with (annoying) accentuated
pauses in their speech patterns every few seconds. Raj Babbar and Anupam Kher's
verbal diarrhea match outside the jail cell scene, had half the audience, including
myself, down for a ten-count on the mat.
The performances are no better. Meghna Kothari
has the face of a baby, and acting talent to match. I do not know when, if ever, the
short and tight silk underwear cum shorts fashion started in colleges, but there appears
to be nothing else in Meghna's clothing closet. One wishes the heroine's friend (and
prospective, screen sister-in-law) was given Meghna's role instead. Not only does
she have more talent than Meghna, but she is also more friendly to the viewers'
Feroz tries to redeem Fardeen Khan's uninspired
presence by compelling each female character to announce his 'attractiveness' each time he
appears on screen. Too bad for Feroz that no one in the audience is as
enamoured. Fardeen might make a semi-decent actor if he has a competent director to
work with, but for now, Fardeen's talent compares unfavourably to even Sanjay
Kapoor. The entire supporting cast is there to mouth the psychotic
dialogues and run away with the their salaries.
Technically the film is in a marginally different
universe. It is the only aspect of the movie somewhat commendable. The
cinematography and colours makes Australia look wonderful (though probably not as good as
in Hindustani and Daud), but the choreography is nothing
to write home about.
It is quite amazing that Feroz Khan could ever make
interesting movies like Qurbani, Dayavan (yes, a remake
of Mani Ratnam's Nayakan) and Yalgaar
in the past. Each one was admittedly vulgar and immature in parts, but there was
also some semblance of sanity and entertainment in each. Sanity takes so far a
backseat in Prem Aggan, that it falls out the
trunk. What we are left with is a show-piece of vulgarity in an asinine