Rishtey (2002)

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Rishtey (2002)
Cast: Anil Kapoor, Karisma Kapoor, Shilpa Shetty
Director: Inder Kumar
Music Director: Sanjeev Darshan
Synopsis: stale, dated hotch-potch of a pot boiler that fails to get bubbling

 

Inder Kumar had a fairly good innings until he bumbled his formula with Mann. That debacle, a film ruined by his desire to cater to everyone and blast the audiences with horrendous melodrama, he followed it up with a dire Ashiq and now another monstrous melodrama Rishtey.

Rishtey opens with Suraj (Anil Kapoor) absconding with his baby with thugs after their lives, sent by his machiavellian father in law (Amrish Puri). Escaping, he devotes himself to bringing his son up in a basti where the voluptuous Vyjayanti (Shilpa Shetty) has eyes on our devoted “widower”. Except that he is not a widower and the secret of his past comes zooming out when Vyjayanti wants to marry him. The plot is so convoluted and formulaic that it doesn’t merit a mention to go though the proceedings. Suffice to say that street Boxer Suraj had fallen in love with Ms Money Bags Komal (Karisma) whose father disapproves and despite the two getting married, pa in law sets about destroying the marriage and then wanting to kill his own grandson. Our Komal is somewhat an extension of her role in haan maine bhi pyaar kiya hai, a rather possessive and jealous character by nature. to this, our hero says to her’…” jis ki chand jaise mehboioba ho, woh bujhte hue lantern ko kyon dekhega”., It is precisely this crassness that pervades through out the film. You have this tarty woman (Deepshikha), who provocatively kept “bumping” into Suraj at a disco, much to the disgust of Komal, who fires the best shot by somehow arriving at Suraj’s flat on the day when Komal has managed to bring her pa back with her (grand reunion at a wedding) and planted some fake lipstick marks and a bali on a sleeping Suraj. How she manages to get into the flat or do any of this is anyone’s guess but naturally Komal Goes ballistic when she sees her in her flat and lipstick marks on Suraj’s kurta. She promptly goes into labour.

Seven years after their separation, Komal, a violin playing frustrated woman prone to jumping off balconies, sets eyes on her son and plans to reclaim him through the courts. This she manages through lies and deceit until the Judge sees that an injustice is done.

Inder Kumar manages top provide you a film which is as old as the hills and probably as dire as the dreadful Ashiq. There is no saving grace here. There are elements of “the Champ” in this film and I believe that it also borrows from the 70’s Kunwara baap. Whatever it is, Inder Kumar really has no subtlety in his direction and really is a master of formula, a formula which has come undone. What worked in the equally dire beta and raja will not work now. This man has no flair and this film is a testament to that.

Anil Kapoor is sincere in his role. Karisma looks lovely, mainly in sarees, but hers is a thankless and pathetic role..why did she do it I wonder. Shilpa Shetty must have got all the cat calls and carries off her role with aplomb…but she is loud and irritating as ever. She has a great figure, great hair and some will say, is very pretty..but she just does not have the personality. She is very much in the mould of some of the 60s and 70s heroines… makes a huge effort (and it shows) but its all so over the top and overly dramatic..very filmy.

Amrish Puri is simply dreadful in a role reminiscent of old style villains…all he needed was to have a smuggling ring as his back drop but mercifully Inder Kumar decided not to incorporate that angle in the film even though almost everything else has. Sanjiv Darshan’s music is a pretty ordinary and when you hear Jackon’s “Jam” blasting out in a song by Sunidhi Chauhan, you know that this team has already run out of ideas!

Time to look for a formula that works. Dire.