De De Pyaar De Reviews
Ultimately, watching De De Pyaar De is a frustrating experience because while there are things to admire, including the unconventional ending, there is no escape from the lazy stereotypes, the simplistic moralizing, and the episodic, sitcom-style screenplay. Yes I laughed, and it made me think. Some bits crackle too, but the film needed more of that.
You wish the film had been braver in its intention of creating a really cracking rom-com, instead of playing its clichés for a laugh.
The usual alpha male, Ajay Devgn, plays it uncharacteristically calm in the film as most of the good stuff comes from Tabu, who wields the word ‘dal’ like a loaded gun.
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Tabu is the only breath of fresh air here; she is unaffected and natural as can be. It is only when she is on screen that the film is infused with life. If the story were told from her perspective instead of that of the rather self-centered Ashish, we’d have a better film on our hands.
The film maturely handles a few touchy topics like divorce, live-ins and age-inappropriate romance, without getting too overbearing. Thankfully, director Akiv Ali wraps it up with a slightly unpredictable climax minus the melodrama. Overall, DDPD is a fun ride that reinstates the fact that when it comes to love, age is just a number.
It’s an enjoyable family watch; the frailties in human relationships are nicely captured.
De De Pyaar De is a bag full of cliches. The makers fail miserably to evolve the story beyond a one-line plot. Go watch De De Pyaar De only if you are a die-hard fan of Tabu.
Tabu, Ajay Devgn champion male infidelity, hatred for women, a weird notion of modern coolth
Overall, with entertainment and romance, thrown in with equal measure, De De Pyaar De is an enjoyable film that is endearing.
The film’s deceptive title may throw many off. But the message that De De Pyaar De packs is loud and clear — love cannot be sought by courtship alone, accepting and adapting play an intrinsic role too. So if you're going for a geriatric, be prepared to date the dentures too.
If you look beyond the film’s messaging and twisted sexual politics, its aesthetics is meant for television viewing. Constant close-ups, sitcom-y film score and blurred background shots of London make you feel trapped, with very little movement happening. The film’s craft adds to its staleness and anachronistic feel. As much as the film wants to be an iconoclast, it reinstates the same conservatism it pretends to take down.