Jumping on the romantic-comedy bandwagon is clearly working for Punjabi filmmakers. The season of love and laughter has been in vogue in the region for quite some time now and filmmakers better make money whilst it lasts. Never mind if the storyline makes no sense. This Friday, theatres across the region witnessed the release of Lucky Di Unlucky Story, treating Punjabi audiences to a clash of reasoning and lots of humour.
A film by Sippy Grewal Productions, Gippy Grewal returns after Singh Vs Kaur to play Lucky Singh and reprises his chemistry with the pretty Chandigarh di kudi Surveen Chawla, who plays Seerat. Directed by Smeep Kang, whose last film, Carry On Jatta was one of the largest grossers of 2012, Lucky Di Unlucky Story also marks the Pollywood debut of Bollywood actor Jackie Shroff.
The show stealers, however, remain Punjab’s stalwart comedians — Jaswinder Bhalla, Gurpreet Ghuggi and Binnu Dhillon. In fact, their perfect comic timing might be the sole attribute for the film’s success. Bhalla, Ghuggi and Dhillon play typical men who are bored of their wives, and who therefore encourage their buddy Gippy to ‘have fun’ while it lasts. But Gippy aka Lucky would not pay heed to their thoughtful advice, and instead falls in love with Seerat in the first few minutes of setting eyes on her in Thailand, where she is researching on Thailand tourism and he is on an “official” trip as a trader of import and export of God knows what. After a ceremonial hard-to-get act, Seerat falls for Lucky and love blossoms.
Thereon, male bonding takes over as the three friends try to get their dear friend Lucky to forget his fiancée Seerat, especially because his luck keeps running out and he finds himself in the middle of ridiculous misunderstandings. The entry of Rajpura girl Samiksha Singh as a model roped in by the three friends to distract Lucky is pleasing, especially because the actor executes her character of a vamp well. The rest of the two-hour story runs mostly on a murder that threatens to indict the four friends (though dealt with large doses of sartorial humour) the entry of Jackie as a baddie who is not to be taken seriously, and of course, the climax.
Apart from mediocre music, the film’s one major flaw is inconsistent allocation of time to events. A very quick start followed by a painfully slow first half and a consequent quickening of storyline during the fag end makes it lose audience interest. Smeep, who has also written the story and co-written the screenplay, seems to realise there is safety in Priyadarshan-style of chaos-based comedy and dutifully banks on it. However, quirks also demand reason and it’s best not abandoned altogether. However, noteworthy is Smeep’s role as one of Surveen’s brothers— a rightfully understated straight-faced humourist, a relief from the typical muscle-touting protective brother.
Nevertheless, dialogues by Naresh Kathuria win hands down, as do scenic locales, Toby Gorman’s cinematography and Gippy Grewal’s much-improved acting skills. Did we forget to mention Surveen’s convincing portrayal and sassy sense of style? The final verdict — Bhalla, Ghuggi and Dhillon should know how valuable they are to Punjabi film industry.