Gulaebaghavali: Humour in the driver's seat

Infusing comedy into heist/treasure hunt stories is a beaten trope as much as comedy in horror. Splash it up with a few 'aha' moments, a non-saleable romance and an ensemble cast that only comes off half-convincing in their characters, you get 'Gulaebhagavali'.

The intentions are good (at the cost of weak logic), no fussing there: because the idea is to give a palatable film that has you smiling wide throughout. We are okay with it but also not really, as we nod our heads in a worried consolation. This is not arthouse, but a full-fledged commercial potboiler that takes you for a roller coaster laugh riot- so you think.

'Gulaebhagavali' is filled with bland conmen branded by decent aspirations. But given the chance, they would want a piece of the big pie too. Such an ensemble is after a treasure chest buried in a temple site in Gulaebhagavali (another 'aha' moment why the film’s fairly tongue-twisting title). How and what these characters do after miraculously and conveniently falling under the ambit of a common goal forms the remainder of the story.

Prabhu deva as Badri is straight out of Tamil cinema’s commercial textbook- he knows how to break a leg (literally in a fight and figuratively on the dance floor). As an essential component of a hero makeover these modern times, he also tries to be honestly charming with the characters he comes across. Especially so too much when he wants to ‘protect’ Haniska when a drink-dazed man is nigh, Badri finely places his legs over his romantic interest, of course the girl is okay with it. She is even aware that the best way to save someone from a sleep-apnoea like predilection is to plant kisses on their cheek. Ahem, but these factors shouldn’t matter in the final say a film like this, but just saying. This may be why ‘Gulaebhaghavali’ seems like the indifferent new kid on the block whom you’re not keen making friends with, because he’s just that: trite.

However, contrary to what is easily predictable, Prabhu Deva as Badri is not keen on taking centre-stage in the movie, but it is the supporting characters that steal the thunder with rare moments of pure humor. Yogi Babu’s small portions are punctuated with bone tickling humor as is Rajendran’s. Anandaraj's villain/comedian antic is not utilized to the fullest as much as we are left wondering about Madhusudhanan’s utility to the plot. But then we also love Monsoor Ali Khan’s comical monologue throughout the movie which doesn’t fail to make you giggle.

The weak writing, though unapologetically branches in and out of places pushing us beyond the threshold of healthy anticipation (the actual ‘Gulaebhagavali’ hunt is post intermission). Not only that, but how each character has its attributes disjointed and lack structure is glaringly visible.

Revathy as Masha has gotten into the shoes of a con lady for the film. She is the kind of woman who carries along a paperback copy of Gabriel Garcia Marcquez but also zaps and reams an imaginary electric guitar during the eureka moment finding a treasure chest. It’s new and interesting to witness the veteran actress in her new avatar which is very dissimilar to her to-do-good roles that we’ve been accustomed to, but again is a tad disappointing when she tries to break out of the ‘lady’ shell into a half-baked display of swag.

The screenplay of the movie seems to be loosely stitched with enough leeway for trivial plot diversions. For example, take into consideration the unconvincing way how conmen Badri,Viji, Masha and Munish bond over a campfire like setting before the ‘job’. Each one gets a back story- from Masha’s fabricated tale to Hansika’s ‘for the sake of it’ sister sentiment comes disruptively into a screenplay which was just then gaining traction.

However, sporadic and jolly one liners rope us back into the groove- like 'thalaila mudi kottudhu' escape from the police, Sathyan’s naivete despite being a cop, 'soppana sundari' car reference, Rajendran's innocent antics of love for his mother, and the last ten or so minutes in the climax portions when all and sundry jump into a reckless rumble for the smartly disguised treasure.

While Prabhu's dance moves are eye-popping at instances during adequately choreographed songs, the lenswork for the movie is also apt sans a few dismembered close ups. Vivek-Mervin music score is not lacking in vivacity and nothing over-the-mark in the bgm sections. And how three professional conmen forgive one of them trying to getaway with the loot is just cute and adorable (no, it's not really). Even though the film falls short of the aspirations that it set for itself, ‘Gulaebhagavali’ cannot be dismissed entirely for its conventional treatment of the genre to the very word(incomplete construction site for the climax anyone?).

Verdict: Though formulaic and hollow in its treatment, one could brave it out for the few laughs it does give

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