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By Taran Adarsh, December 26, 2002 - 10:40 IST
Vijay Productions' CHALO ISHQ LADAAYE, directed by Aziz Sajawal, is a typical Govinda flick with several illogical sequences.
Dadi (Zohra Segal) is an over-dominating grandmother to Pappu (Govinda). She slaps him on every occasion, allows not more than Rs. 50 for his monthly expenses and worse, forbids him from watching his favourite heroine Sapna's movies.
Sapna (Rani Mukerji) is a leading actress, who plans to marry an industrialist, Rahul (Sanjay Suri). On the other hand, Pappu is in love with Bobby (Mink), an orchestra singer. But fate has something else in store for the two couples.
Pappu and Sapna have a chance meeting and they strike a deal. A deal that leads to a murder. What happens next?
The story of CHALO ISHQ LADAAYE is loosely inspired by Alfred Hitchcock's STRANGERS ON A TRAIN [a similar plot was witnessed in the Sanjay Kapoor-Arbaaz Khan starrer SOCH]. Since CHALO ISHQ LADAAYE stars Govinda, the makers have woven humour in the tale to make it more identifiable.
While the humour at some places is truly hilarious (especially the Johny Lever track), the story loses its charm as it deviates to an altogether new sub-plot and the romantic track [Govinda-Rani].
There are numerous blemishes in the screenplay, notable among them being –
One, the basic idea of the hero wanting to murder his grandmother would not gel well with the viewers. The family audiences will find it in bad taste because elders, specifically grandparents, in Indian families are immensely respected and literally worshipped. Also, the strategies he adopts to eliminate her are juvenile and inane at times.
Two, the industrialist (Sanjay Suri), considered dead and who re-emerges towards the climax, is simply unpalatable. Even the climax fight – Govinda reaching the hideout with his grandmother – appears implausible and completely unreal.
Directorially, Aziz Sajawal banks on humour to carry the story ahead and in the process, relies very heavily on cinematic liberties. The screenplay is that of convenience.
Himesh Reshammiya's music is plain mediocre. Barring the title track, which has been shot at some scenic locations of the U.S., the remaining numbers don't register any impact whatsoever. The placement of songs is yet another sore point.
Cinematography [H. Laxminarayan] is functional. Dialogues are witty. A few lines delivered by Govinda can be singled out, although Johny Lever gets the best lines to deliver.
Govinda goes through his role without much of an effort. He looks comfortable in what he's doing, although there was scope to perform much better. Rani Mukerji goes over the top in a few sequences. Also, she needs to go easy on her make-up. Zohra Segal is first-rate. Sanjay Suri gets no scope. Mink does well, exhibiting her anatomy freely.
Kader Khan is as usual. Gulshan Grover's role should've been better penned. Johny Lever is a highlight – the front-benchers are sure to like him.
On the whole, CHALO ISHQ LADAAYE stands on a weak foundation – the script – which may restrict its prospects.
  
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