Yamla Pagla Deewana Movie Reviews

In the 1970s and 1980s, Bollywood churned out hardcore masala films by the dozens. Those films appealed to the 'Balcony Class' as well as the 'Stall Audience' [terminology used for dissecting the audience then]. Even today, films like SHOLAY, AMAR AKBAR ANTHONY, NAMAK HALAAL, DON, ROTI KAPADA AUR MAKAAN, DHARAM-VEER, MUQADDAR KA SIKANDAR et al, the most popular films of that era, appeal to the guy riding an auto rickshaw

On the whole, YAMLA PAGLA DEEWANA is a hardcore mass entertainer that fulfils the expectations of the aam junta. Those who love Deols will adore this one, while those who don’t, won’t ignore it either. The film works big time for its mass-appealing second half and loads of entertainment it has to offer. The target audience is the masses and it is this segment of movie-going audience that should carry this film to success. Business at single screens should be exceptional, while the film should set new benchmarks in North India [Punjab specifically]. Internationally too, the film should perform the best in U.K., U.S.A. and Canada.

The Deol Inc. may not be able to put up the best act in town but they do seem to win hands down when it comes to winning your hearts. Remember Apne and how it tugged at your heartstrings with its estranged father and sons saga. Once again, in Yamla Pagla Deewana, Dharam Singh (Dharmendra) and his sons Paramveer Singh (Sunny Deol) and Gajodhar Singh (Bobby Deol) are the oddball family which win you over with their goofy attempts

We all know why we will watch Yamla Pagla Deewana, if at all. It's the deadly Deols together on screen, with papa Dharmendra leading the pack, a family occasion which gets all the Punjabi blood, including me, going balle balle. Though the title is the smartest thing about Yamla Pagla Deewana, the potboiler film has enough one-liners, item songs and action sequences to keep you kind of entertained, in a drunk, bustling Punjabi manner.

When one of the leading families of B-town decided to spoof themselves, the news was met with raised eyebrows. But knowing the Deols, Yamla Pagla Deewana became one of the most anticipated films of the year. While their last effort Apne was more cringe-inducing than serious, YMD is a great effort at poking fun at themselves and their claims to fame. Sunny's mind boggling action, Bobby's tomfoolery and Dharmendra's daru jokes are the mainstay of the film

Yamla Pagla Deewana is, more or less, modeled on Bollywood's age-old lost-and-found formula where a son is separated from his father in childhood. But for a pleasant change, the father and son do not have to wait till the climax and rather reunite within the first 15 minutes of the film. After that they remain together in almost every other frame of the film and (joined by the younger son) share great combined chemistry. The film starts

Watch it for its unbridled goofiness, the attempt to laugh at the Punjabi stereotypes and for the Deol chemistry that makes you chuckle, now and then.

The right dose of action, drama and comedy, combined with a fine story make YAMLA PAGLA DEEWANA a paisa vasool entertainer. Go for it!

Clocking in at almost three hours, Yamla Pagla Deewana is an exhausting but occasionally enjoyable comedy that only takes flight after intermission. The film's harebrained plot involves Sunny Deol as Paramveer, an NRI in Vancouver, arriving in Benares to reunite with his father and brother from whom he has been estranged for thirty years. His search leads him to lovable con-artist Dharam (played by the actor's own father Dharmendra)

Yamla Pagla Deewana is director Samir Karnik’s paean to the Deols. The three – Dharmendra, Sunny and Bobby – represent three generations of Hindi cinema. The Deols have rarely been hailed for great acting but their charm and swarthy good looks have been beguiling audiences since 1960, when Dharmendra first appeared on screen. Here Karnik creates a broad, largely nonsensical narrative that allows each one to play up his image and make fun of it.

Unfortunately, it’s only intermittently funny and extremely exhausting.

Yamla Pagla Deewana (YPD) is K3G meets DDLJ meets that eternal classic, Baap Numbri Beta Dus Numbri. As bizarre as that might seem, given the film’s lead actors and the fact that you’ve quite possibly not seen the third film – it had Kader Khan and Shakti Kapoor in title roles, mind you – director Samir Karnik manages, rather attempts, the unlikely blend. Most of the time, he falters. YPD leaves you confused. It’s an effort to sit through the film

There is a scene in Yamla Pagla Deewana where Sunny Deol wears an Incredible Hulk tee-shirt. This is symptomatic of the film's biggest, most glaring problem: it does everything in fatally flawed measure. Bobby Deol is given the film's most actor-heavy role, Dharmendra vanishes for long stretches of time and Sunny, well... suffice it to say that the Hulk should wear a Sunny Deol tee. For he's still got it. From those legendary two-and-a-half kilo hamfists

Overall the Yamla Pagla Deewana soundtrack is nothing earth shattering – it’s packed with decent upbeat Punjabi-flavoured tracks but nothing innovative or especially original, save the wonderful opening title track that proves that you can’t beat the classics – just like Dharmendra.

Oye Pummy, Lucky, Moti. These names come tripping off the singer’s tongue in ‘Yamla Pagla Deewana’, and that last one I couldn’t hear clearly above the cacophony, but you get the drift. These are loving monickers for the Punjabi `puttars’ who drink tall glasses of `lassi’, eat quarts of homemade butter, and brandish guns, occasionally letting them off as and when the mood grabs them. This film, featuring Bollywood’s original beloved Jat

Dullness creeps in. Drunken scenes get repeated. Men get moronically pasted on a wall with ‘Dharamcol’, an adhesive that can join the earth to the sky. Jokes lose impact. Songs screw up the flow.

Watch Yamla Pagla Deewana for the laugh riot climax & Sunny Deol's acting.