Completely without context, the filmmakers slip in for us spiels after spiels on Indo-Pak bonhomie, idea of ‘Indianness’ over ‘western culture’, rhetoric on women’s empowerment, cricket’s frenzy, and a dumpling on small town aspirations. You sit and wonder.

If you can discount some of the Veer-Zaara inspired cheesiness to follow along with terrible exercises of humour — namely broken Hinglish exchanges (You Kaala bhainslo, yadda yadda) and gems like, ‘Yeh Indian dil hai. Cello tape se nahi Judta and a reaa-llll-yy long climax, your ‘Dil’ might just find enough strength to mutter ‘Hadippa’.

What saves Dil Bole… from being a total write off is Rani Mukherjee. The actress, looking better than she has in years, pours her soul into Veera Kaur. Her performance, like the film, is high-pitched and broad-stroked but she makes it work. She and Shahid Kapur have a nice chemistry.

DIL BOLE HADIPPA belongs to Rani and as always, she delivers a sparkling performance as Veera as well as Veer, carrying both the roles effortlessly. Shahid plays second fiddle to Rani, which is very surprising. Nevertheless, he enacts his part well. Anupam Kher and Dalip Tahil lend decent support. Poonam Dhillon has nothing to do. Rakhi Sawant and Sherlyn Chopra are wasted. Vrajesh Hirjee is passable. Shri Vallabh Vyas does well.

Dil Bole Hadippa is a perfect example of how Bollywood can quite shamelessly adapt (read copy) anything from the West and do a decent job. This one’s a straight lift of the America teenage comedy She’s The Man (2006). The only difference in that while in the English film, the lead actress is standing in for her brother in a soccer team, Veera Kaur (Rani Mukerji) plays cricket. But DBH is not aimed at the teens. Who its aimed at, is really a bit of a mystery.

‘Dil Bole Hadippa’ isn’t an appreciable piece of work from Yash Raj Banner. Sparing the exotic locations and performance by Rani Mukherji, the film hasn’t got anything special to watch out for.