A sinister extra-constitutional figure (as QT, the femmebot, says “wo itna powerful ki sarkaar bhi usse koi sawaal naheen kartee” [he is so powerful that even the government dare not ask him questions]) whose voice bears some resemblance to Darth Vader rules the city. (The movie does not say whether he was an ex-cartoonist).
He is helped in his sinister designs by an exclusive personal army of tube-light wielding droids who have a dislike for “outsiders”.
The menial labor is being done by robots who speak Bhojpuri, in the process betraying their roots, when they wish to communicate a secret.
Yep. The future in Mumbai sure looks much like its present.
Anu Malik still recycles music from the likes of Beyonce and lyrics are as profound as “Hey you lover boy, will you be my toy?”
And the cityscape is an eclectic collection of “concepts” you have seen before in Bicentennial Man, I Robot, Minority Report, Sixth Element and Star Wars.
Welcome to Harry Baweja’s truly original and imaginative “Love Story 2050” —yes the same Harry Baweja’s whose genius last gave us Teesri Aankh, the Hidden camera (which had two of my favorite dialogs “abh kahaan chupayenge humare ma behenon ko”and “yeh sarkari danda hain”). While his previous movies had been trend-setters in their own right with their bold handling of themes like the proliferation of hidden cameras (Teesri Aankh), lecherous politicians with X-ray vision (Karz), patriotism (Diljale), bio-terrorism and the dangers of Sanjay Kapoor (Qayamat: City Under Threat) “Love Story 2050” is in a different league altogether—being at once a genre-bender (blending supreme sci-fi with Mills and Boons romance replete with diaries, butterflies and overall pinkiness) as also as an elaborately constructed launch vehicle for his son, Harman Baweja.
Watching “Love Story 2050” is an amazing, multi-layered experience. At one level, you are watching an elaborate advertisement for “targeted” products like Xbox 360, Panasonic, Ceat Tyres, Lux, TATA Indicom, Lawman etc placed “in movie” with Sunny Deolian subtlety never seen since “Yaadein” . On another level, you feel as if you are, like a voyeur, getting an exclusive butterfly-eye view of the actual love story of Priyanka Chopra and “Her Man” Baweja as they exchange sweet words of sugary nothingness .[Not that they are officially a couple as Priyanka Chopra keeps saying that she and Baweja are only “friends” though Harman Baweja tries his level best to get across the message, overtly and covertly, that he and Ms. Chopra are, using Bollywood lingo, an item.]
And on yet another level, you are actually watching a masterful tour d’force of an acting performance from Harman Baweja.
No I do not mean his playing the character of Karan,the lover boy who follows butterflies, speaks to his dead mother and whose middle name, like Austin Powers, is danger.
Rather I am talking about the “role inside a role”—-Harman Baweja’s brilliant portrayal of Hrithik Roshan.
Had it not been for the insane plot, Boman Irani’s overacting , his slapping the fembot QT on the bottom and the standard presence of over-precocious toons, Love Story 2050 could very well have been a biopic of Hrithik Roshan. If Jamie Foxx won the Oscars for becoming “Ray” in the movie based on the life of Ray Charles, Herman deserves no less for his uncanny portrayal of Hrithik Roshan in a movie that has more than a bit of thematic resemblance to Roshan’s debut movie “Kaho Na Pyar Hain”. From the dance steps to the hairstyle to his sartorial style to the smile and to the inflection of voice (the only thing that doesn’t match is unfortunately the “face” and that too not because of any lack of effort on Harman’s part), Harman’s portrayal is so spot on as to be positively disquieting.
I used to think that the duplicate of Shatrughan Sinha who reportedly cut his cheek to resemble his hero, was the height of creepiness.
After seeing Hanuman sorry Harman aping Hrithik, I realize I was wrong.
Mention must also be made of the brilliant dialogs —-a pink teddy robot Boo while going to fetch “blue tea” saying in supremely accented fashion: “Boo Tee (booty) kahaan hain” and Harman Baweja’s deeply Freudian message to Priyanka Chopra: “Tumhara life hain na, it’s like hotdog without a sausage” as also Priyanka Chopra’s finely nuanced portrayal of two very different characters—-cliched, madly-in-love uber-mushy girl and cliched, madly-in-love uber-mushy girl with red hair.
In conclusion, I can do no better than to paraphrase a few lines from songs of Harry Baweja’s creations to sum up my assessment of Harman’s debut flick.
Love Story 2050 is a “tere dimaag main aapni asaar chod jayega” (Imtihaan), a “ho naheen sakta” (Diljale) and a “kudrat ne banaya hoga fursat se” (Dilwale)-type movie, a searing cinematic achievement and a true “Winkie Dinks” (name of a pink talking glove in the film) among Baweja classics.