![]() Kakkad agrees - he wants Baby Singh safe and sound. ![]() Hidden behind a Rajinikanth mask, Fanney Khan meets Kakkad and makes an unconventional demand - a recording of a song that he has composed for his daughter. Adhir, on the rebound, promptly reciprocates the feeling. Soon enough, the Stockholm syndrome kicks in and the kidnapping victim develops a soft corner for the captor. Initially, Adhir is reluctant but opts to be party to the conspiracy when his girlfriend Jinal (Swati Semwal) leaves for Goa against his wish to attend an acting workshop. He begins to drive a taxi for an old friend Kader (Satish Kaushik).Īnil Kapoor, Aishwarya Rai Bachchan and Rajkummar Rao in Fanney Khan Prashant hides the crisis from his wife Kavita (Divya Dutta). One fine morning, he loses his factory job. The film kicks off with a rendition of Badan pe sitare lapete huye: a rousing curtain-raiser. How the reconciliation happens is the crux of the story but it does not hit home hard enough when it is time for the film to wind down.įanney Khan pivots around the infectious energy that Anil Kapoor brings to bear upon the character of the failed musician Prashant Sharma. The worldviews of the two clash frequently and the daughter sees her dad's earnest enthusiasm as more irritating than encouraging. ![]() What undermines Fanney Khan is its inability to tap to the fullest the universal emotions inherent in the father-daughter relationship. Of course, the film's flights of fancy do demand a willing suspension of disbelief. But first-time director Atul Manjrekar not only keeps the dramatic core of the story intact, he also ramps it up appreciably to serve up an indigenized version that more than serves its purpose. Portions of Fanney Khan are a bit of a stretch: they are a touch flabby and far-fetched. That is the narrative kernel of Fanney Khan, officially adapted from the Belgian hit Everybody's Famous! (2000) and given the spin of a Bollywood musical that upends the established notions of showbiz success. So, for both the fat-shamed girl and her out-of-work father, a life-changing opening is a castle in the air. So much so that she herself begins to believe that popular music these days is more about seeing than hearing and that "it is all about styling". " Dekha hai apne ko mirror mein kabhi," she is frequently asked. The girl has a fine voice but she doesn't possess the body type of a pop diva. He is willing to go to any length to help his only daughter attain stardom. A 1990s orchestra singer, now on the wrong side of 50, seeks recompense for his failure to make it big.
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