First things first. DHOL has in fact nothing to do with a 'dhol'. Well, except for the fact that there is a 'dhol' included in the last stages of the film to justify the film's title! Did the film's title come first or the script? A classic 'whether chicken came first or the egg' story!
DHOL is an addition to all boys entertainers that came in vogue after DIL CHAHTA HAI and have gathered momentum to reach a peak today with films like GOLMAAL, APNA SAPNA MONEY MONEY, HEYY BABYY and recently released DHAMAAL. The film doesn't promise to make you fall off the chair or clap hard all the time. It also doesn't have any major peaks that it achieves.
What it does well though is maintain steady laughs and smiles as you watch the escapades of Tusshar Kapoor, Sharman Joshi, Kunal Khemu and Rajpal Yadav trying to win attention of their neighbor [Tanushree Dutta] and her 'dadaji' [Om Puri] and 'dadiji [Farida Dadi]. When more than three-fourth of the film's 2 hr 45 mins are spent on a plot like this, except Priyadarshan to take full banana peel humor to a different level altogether.
So while Kunal ends up getting red chilly powder in his eyes by 'dadiji' who suspects him to be a thief/murderer, Tusshar is caught 'wet-handed' as he douses flames of a 'havan' believing them to be fire in a house. On the other hand Rajpal's condition is no better as he finds himself on the wrong side of 'dadaji' while trying to gain his attention on a road whereas Sharman is hated most by Tanushree for breaking her trust.
All of this and more comes together in one of the longest comedies seen in recent times where each of the characters is always on a run with out of ordinary situations leading to unbelievable happenings. There are number of scenes though which are simply riotous:
a) All four youngsters pushing Om Puri's car down the hill b) Each of them trying to sing a song to gain Tanushree's attention c) Rajpal's positioning as top brass Manager in Om Puri's office d) Boxing ring sequence e) Gang fight instigated by the quartet
It is to the credit of scenes like these which to a very good extent negate some lows in the film. Entire Arbaaz Khan and Tanushree's brother factor seems forced into the film and though on paper it appears to be integral to the plot, one wonders whether Priyadarshan could have opted for an out and out comedy outing. Elements of a thriller just do not intersperse well into the situations here and though they are minimal (thankfully), DHOL could have been better off without it.
Opening title song sequence, though stylishly shot, doesn't add to the plot and is conveniently forgotten the moment film's quartet is introduced. Payal Rohatgi's flashback sequence makes one wonder if the long drawn sequences were actually that important to the plot that they mandated such importance.
But what is simply unpardonable is yawny-yawny-and some more yawny Murali Sharma-searching-for-Payal-and-Tanushree inside the house sequence which just refuses to end. Shot in an utmost clichÃ©d manner, it would go down as one of the most boring supposed-to-be-thrilling sequence.
Still, as mentioned earlier, there are number of hilarious sequences that keep the momentum going. Soon after the dragging pre-climax, the going gets back to entertaining, though the HUNGAMA deja vu is very much in place with all the characters from the film coming together on one single platform.
Performances by all the actors are consistent though (as expected in a Priyadarshan film) Rajpal Yadav walks away with maximum accolades. He doesn't just get some of the best lines, he also raises the standards of some of the most ordinarily written scenes by sheer comic timing. Watch him being at his comfortable and confident best even as he wears a shirt an