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Looking back: Why did Nikhil Advani’s love-vehicle crash?

They say it is fruitless dwelling on the past. Besides, the film I am writing about is by no measure whatsoever, one of my favorites, or even one that I consider extraordinary. But ever since it released and especially after I recently watched it, I just can’t help but wonder- what went so horribly wrong with Salaam-e-Ishq - a film that seemed like a guaranteed blockbuster, a surefire super hit? How did the firecracker go kaput, the bang unexpectedly replaced by a whimper?

It is often said these days in the industry that it is virtually impossible to judge the fate of any film- and I have to say, that in my humble and frank opinion- that is nothing but a whole load of bull***t. It is not always very difficult to judge how a film will fare once it nears release- and in fact, quite easy after its first screening. You don’t have to be a ‘trade analyst’ to sense a film’s buzz, just an observant film buff.

However; admittedly, sometimes one is really left stumped at a film’s unexpectedly dismal or superb performance. Remember, when two years back, Madhur Bhandarkar’s ‘small, offbeat’ Page 3, released and clashed with Showman Subhash Ghai’s lavish epic Kisna and literally pulled the carpet from under its feet, stole the march, and gave the ‘big’ rival film one helluva run for its money!

But then, Kisna had Viveik Oberoi- never really a BO draw- with a phoren babe and turned out to be a doddering, miserable drag, whereas Page 3, with its heady cocktail of realism, sex, scandal, gossip, sensationalism and lots of masala was impossible for audiences to resist. What does one say in explanation when a reasonably good, even entertaining film like SEI, with a high voltage star-cast, eye-catching promos and ear-pleasing, hit music falls like a pack of cards; rejected by audiences, ripped apart by critics?

I couldn’t see Salaam-e-Ishq when it released in cinemas, but having seen it now on DVD, I feel puzzled and strangely compelled to write in defense of a film that has been dumped as a ‘disappointment’ and dismissed as an ‘ode to mediocrity, not love.’ Nikhil Advani certainly did not deserve to be piled with such harsh criticism for his second directorial effort- flawed, but clearly a labor of love, actually (pun unintended). The film was savaged, and Advani’s directorial abilities even put to serious doubt, with many sneering and snidely remarking that how Kal Ho Naa Ho was actually Karan Johar’s one-man show, not Advani’s film.

I am not going to dismiss Nikhil Advani so easily- he is not a great director, not yet at least, but he sure knows his job well. He evidently is a good technician, and more importantly, can tell a story pretty darn well. He is certainly someone with potential, with enough talent for us to look forward to. Forget about bad, I don’t think Salaam-e-Ishq is even a mediocre film. In an industry that churns out such utter rubbish with amazing regularity- stuff like Fanaa and Krrish that become box-office smash hits and even manage a few good reviews, inspite of their obvious tawdriness and sheer lack of imagination- Salaam-e-Ishq certainly should be rated as much above average.

Advani is inspired by Richard Curtis’ mushy but irresistible episodic film Love Actually, but doesn’t borrow anything more fro it than the basic narrative structure of six love stories unfolding simultaneously. He also clearly takes inspiration from countless Bollywood films- there are numerous film references, including two old songs- Aao Huzoor and Babuji Dheere Chalna used to good effect in the film and two pesky journalists amusingly named Amar-Prem!

In fact, the way I see it- Salaam-e-Ishq is actually more of a cheeky homage to the Bollywood of both past and present- and not so much a ‘tribute to love’, as the tagline grandly proclaims. In a sense, it partly belongs to the genre of Farah Khan’s Main Hoon Naa, which was also a livewire, spoofy MTV-style entertainer taking cute digs at Hindi film yore. I enjoyed both these films- they are animated, bouncy and lively films with fizz- that never take themselves seriously at all- and don’t expect you to, either. They are also possibly our only counterparts to Hollywood’s Scary Movie and Date Movie series, or more recently Hot Fuzz and Grind house (though not nearly in the same league). They are campy, self-indulgent, yes, but also a load of fun. I recall when in an interview, Farah Khan was asked about the story of her film, she frankly and funnily replied: “Story? There is no story!”

Salaam-e-Ishq opens with the story of happily and inter-religiously married Tehzeeb and Ashutosh played by John Abraham and Vidya Balan. The story is pretty routine, with Tehzeeb’s accident and loss of memory, but is the many heartfelt moments between the couple that makes it rise above the ordinary. The actors share an uncommonly natural and oh-so-hot chemistry and imbue their parts with such tenderness, that you can’t help but feel for them. John effectively portrays Ashutosh’s desperation when Tehzeeb’s memory loss threatens to snatch her away from him. Anyway, if you still don’t like it, you can always gawp at gorgeous Vidya…and lose yourself in her eyes.

Akshaye Khanna plays a commitment-phobic guy in the second story, opposite Ayesha Takia playing his girlfriend and fiancée. This is where we have some of the most hilarious lines, but the rest is just okay…and predictable, of course. Akshaye is fabulous but does tend to overdo the wackiness at times, while Ayesha, despite a pleasing presence, doesn’t really have much to do.

In the third story, Anil Kapoor is a married and successful executive working in London married to a still-lovely Juhi Chawla. Bored of the monotony of his life, he inexplicably embarks on a clumsy affair with a young girl played by Anjana Sukhani. Anjana’s character- which seems part nymphomaniac seductress and part silly teen-is particularly unconvincingly written and acted and the whole affair bit seems quite weird and awkward. However, some funny moments and Anil-Juhi’s assured presence give warmth to the otherwise soppy story and make it somewhat engaging.

Govinda’s track is quite sweet, with him playing a filmi good hearted taxi driver who nurses equally filmi dreams of finding his dream-girl; a pretty gori mem. The story, of course is really cheesy and unbelievable, but also essentially a fairy tale, and is charming enough for us to forget our cynicism. Govinda puts up a good act, and while Shannon Esra is certainly not a blonde bombshell or the stuff dreams are made of, she sure has a nice enough screen presence and does her part well- this one makes you smile.

The Priyanka-Salman track in the film has been heavily criticized as the most ridiculous track in the film, but I really beg to differ- for that is exactly what it is meant to be- totally outrageous and outlandish. Deliberately whimsical and farcical, this tongue-in-cheek take on the film industry has Priyanka Chopra playing Kkamini, reigning ‘item-queen’ and wannabe ‘tragedy queen’ in order to bag the coveted lead in Karan Johar’s next film. She plans an elaborate publicity stunt to achieve this when ‘Raaoul’ alias Rahul (that is Salman) comes in the way. Priyanka is essentially the central protagonist of the story, and she plays the role with relish, appropriately hysterical and campy in a character designed to be over-the-top. This is actually a pretty good performance, with Chopra displaying great comic timing at times and doing a particularly amusing imitation of Meena Kumari. Salman dances to Tenu Leke like only he can, and smoothly sleepwalks through a role that really requires him to just be himself.

Lastly, the Sohail-Isha track is barely there, almost like a small collage of funny scenes- quite like the story of the two body doubles in Love, Actually. It is an endearing, cartoon-like track, with Sohail desperate to consummate his wedding and every attempt of his at getting naughty with his wife going riotously wrong. Sohail Khan and Isha Koppikar bring the house down (literally, in the film) and though their almost Tom and Jerry kind of segment could be perceived as crude, I just find it cute.

The film keeps changing tracks every now and then, and the way the scene/story transitions take place is often quite innovative. Salaam-e-Ishq is well shot- the frames are beautiful and well crafted without being irritatingly sugary or picture perfect which is often the case in Bollywood romances. The music is peppy, catchy and the best we have seen of late from Shankar-Ehsaan-Loy, and while it is not groundbreaking in any way, it is enough to make you groove to its beat. The writing and dialogue flutters between the witty and the (deliberately) cheesy- and is never self-conscious.

Salaam-e-Ishq is a mostly fun ride- even if a tad too long- which makes it ultimately a little exhausting. And for its sheer audacity, cheek and madness, I give Salaam-e-Ishq a thumbs-up. So while I can’t find any real reasons why no one liked it, I just hope the filmmaker keeps his next film shorter and possibly edgier and more atypical, unusual and different. He’s good, but I just guess he’ll have to be better next time round…whaddaya say, Mr. Advani?

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