…you cannot get more self-referential than having your hero say ‘yeh dilwala apni dulhaniya le hi jayega’: that’s seriously scraping the barrel.

‘Rab Ne Bana Di Jodi’ has some sparkling moments, featuring Surinderji Sahni. The rest is done that, seen this. Are there any new ideas left in the Yashraj chest? Now is the time to delve deep.

Debutante Anushka Sharma is assured and upright but you wouldn’t kill to eat paani puris with her, the way Suri-cum-Raj does. Incontestably, Rab Ne Bana Di Jodi is an SRK show. The end credits with snapshots is a delight, don’t miss them. The actor sends you home with a smile and a tear. So, here’s a must-grab-ticket to SRK.

The first half of the film seems somewhat alright, though I’d love an explanation on how a woman besotted with a certain man not just imagines him on screen in a romantic medley, but sees him dance with a string of Bollywood heroines instead of herself. The second half of the film sees a lot of the aforementioned Rab-invoking, with much talk of divinity and love. And as you yawn through the last half hour — wherein lies the Rab — you realise that the entire makeover device, which masquerades as the plot of the film, was completely unnecessary, and all the hero needed to do was take her to the temple a few more times. And a redundant plot is as unforgivable as it gets.

The only high point of the film is Shah Rukh’s interpretation of the geeky-gawky middle class hero, who would have actually been quite lovable if he didn’t metamorphose into his gaudy, over-the-top alter ego, Raj. Debutante Anoushka lacks all chutzpah and can barely hold your attention. Watch it, only for Surinder Sahni ji, a refreshing new take on the Bollywood hero.

The premise of Rab Ne is illogical but even if you are willing to overlook the fact that Tani fails to recognise her own husband because he loses his moustache and gels his hair, the film is a frustrating experience.

Sporadic scenes play out nicely and Shah Rukh Khan works every acting muscle to bring conviction to this story but the overwhelming emotional inconsistency fractures the film.

However, you have to give it to Aditya to attempt a love story that’s drastically different from the one he set the trend of in the first place. Coming back after a span of eight years, Aditya chooses a subject that may not set the cash registers ringing in a way, say, a Om Shanti Om did, but tells a heartwarming love story of a middle-class, middle-aged man that needs to be applauded for its minimalism.

On the whole, RAB NE BANA DI JODI is vey desi at heart with a strong start and an equally strong emotional end. Having said that, you cannot deny the fact that you expect much, much more from Aditya Chopra. It is no DILWALE DULHANIYA LE JAYENGE, it’s not MOHABBATEIN either. It’s lower than that!

It’s very rare for another actor to steal the thunder right from under Shahrukh Khan’s nose. Even though the script is the winner here, newcomer Anushka Sharma walks off with an applause-worthy performance. It’s difficult to believe that this is her debut.

If you have loved Raj crooning ‘Tujhe Dekha To Ye Jaana Sanam’ in 1995 and five years down the line, you were still in love with him and many (female fans) implored him ‘Humko Hamin Se Chura Lo’ there is no reason why you should not let a now mature Raj, masquerading as Surinder Sawhney (but still romantic at heart!), telling you in 2008 ‘Tujh Mein Rab Dikhta hai..’ in his trademark (still) charming way, though rather ‘ Haule Haule!’

Had the story chosen not to take the regressive and cliched path towards the end, the film would have been path-breaking. Still, for the fresh sparks in the story, Shah Rukh Khan’s hugely entertaining performance and Anushka Sharma’s confident debut, Rab Ne Bana Di Jodi remains unmissable.