Gullu Dada Thiree Review

The series and the genre is to be arguably perceived as path breaking, a defining moment- perhaps even globally unmatched. To the uninitiated and the ones who have followed cinema of the more straightjacket variety, this is cinema of its own kind, truly unmatched and even difficult to replicate even if desired. Amazing courage is needed to attempt something of this kind. Buoyed by its early success , the formula is now being stretched and one piece from the patented factory makes its way to the theatre every now and then leaving it to the courageous or the hopeful to take it on. It is also to be comprehended as a unique business module logic defining if not defying.
Watch this amazing adventure – albeit at the cost of inherited or cultivated sensitivities on cinema as a medium of entertainment, culture, art, etc. Scripted and executed for the non-regular viewer, the film could well make its way to the curricula of acting and film making Institutes as a paradigm. What lenses, what lesson is best left unsaid in the context.
Interestingly the film’s Director Abrar Khan also introduces a story to the narrative. How and when it gets entangled in a narration that just kick starts with Gullu Dada at his antics and gains a two hour mileage is not realised. Hitherto we have had city centric films: Mumbai, Delhi, Lucknow and why not add the Hyderabadi flavour is the good intent that justifies the spirit of such an endeavour. Google search for the film and you draw blank simply because it defies any slotting and is search defying. You surely would not get the star cast leaving you to wonder if the cast is not star enough to be listed.
Set in the streets of Hyderabad, the film is partly in Hindi and partly in Urdu and has one liners leaking all through the script in the name of humour. We have a middle aged hero who is on some kind of an ego trip. Simple if the other Khans can get away with it, why not Adnan Sajid Khan? The script is an apology for the hero of the film to wander through the streets of the city, meeting out his brand of justice and his cronies standing up to him. Somewhere down the line he falls in love with the lass in loss (Deeksha). She is said to be engaged to the son of the local goon and the son is on his way of keeping Dad’s repute in place. Our Lass however changes her fiancé thrice in about two hours and that could give the likes of Liz Taylor the run for their money.

Watch the film if you are interested in just nothing and have resigned to the fact that Doomsday is round the corner. Also not a bad idea if you are suffering from insomnia – you may just found what the doctor ordered.

L. Ravichander