I http://paperbookintensive.org/2016-course-catalog/craig-jenson-2/ ndian girl from one of the upper middle class “Kaloneys” of New Delhi, is told bluntly a couple of days before the wedding by the boy, that he is not interested in the marriage. She freaks, She almost succumbs the numb fear of “what will people say”, and then the little travel bug in her, decides to germinate. A wasted flight ticket for now-out-of-sight honeymoon is what it may have been, but the girl decides she will go to her honeymoon, in the spirit of travel and exploration, albeit single!
20 minutes into the movie, when you are presented this dynamic of a single girl in a new city, it certainly sets the expectations for a joy ride. The movie meanders into new frontiers that Indian women have never seen before like staying in budget friendly mixed gender hostels, or travelling alone in a new town with strangers. Kangana Ranaut’s characterization is mind numbingly closer to reality, of how an otherwise petite Delhi girl reacts in an unfamilar environment, which is outside of her comfort zone. The movie’s strength is its ‘Indianisation’, and there lies its weakness too, albeit the tasteless bits in a largely fresh and new attempt at cinema!
We have seen Indianisation before in movies like Cocktail, which send across the message that, as a woman, you could be different (Deepika Padukone), but end up being a loser, unless you “Bahu Up” to be the “Indianised Girl”. “Indianisation” in a different form was also seen in the 90’s for cloned movies like “Mrs Doubtfire”, in its “Avvai Shanmughi” or “Chachi 420” avatars. Back then, you could argue that Indian audience was not mature to accept a movie with an ending like “Mrs Doubtfire”, where Julia Roberts and Robin Williams dont patch up, but chose to move on. The Indian cloned version of the same movie, had the hero, playing to the masses, with a ending-chase-where-the-whole cast makes it in time for the end scene and credits, re-uniting with his divorced wife.
The same “Indianisation” is what the director has chosen to add to “Queen”. Like introducing a “Loose Moralled” French waitress, who can speak Hindi, out of the blue. It follows the usual lazy connotation of according any firang connection to Goa, and for some reason, distracts the attention from the brillant expressions and dialogues that Kangana Ranaut has. The same “Indianisation”, invents hollow scenes, especially the one towards the end, when Kangana and her 3 roommates, decide to bid goodbyes, in a rock concert.
Apart from these, I found the movie entertaining, which was the emotion that stayed with me all over. One part, where i found the “Indianisation”, beautiful was when Kangana’s submissive self (when she hears about her beau wanting to break up), strong nature to come out of the problem (to decide to head on a solo honeymoon/fighting a thief in Paris), and her maturity in holding her anger back, against her beau. That probably is the bedrock of successful Indian families, in having one sensible person in the relationship, who can separate disappointment from lingering too long into one’s life. The movie beautifully meanders through situations, keeping the interest level all through the movie, with most characters being real people that you could always relate to. May it be the loud Delhi’ite, the over protective kid brother, assuring middle-class parents, the joy of finding known hindi music in a firangi night club or travellers that you would find in hostels across the world!
Kangana act reaches a crescendo, when Asha Bhonsle’s mellifluous voice, ably shows her emotions of a full fledged night out in the city, in a song of rebellious streaks-“Hungama Ho Gaya”- much similar to the yesteryear number -‘Dum Maro Dum’. This movie is one, where Bollywood has pleasantly meandered along a path, previously not taken. This is when you know, Kangana Ranaut has struck a chord with the audience, and she carried the movie brilliantly!