Watch Raat Gayi Baat Gayi Online Hindi Movie Free Video Trailer Review

Bollywood Movie Review

Rajat Kapoor as Rahul is an ad film maker and a perfect family man. He and Mitali have been married for eight years now and they have a beautiful daughter that he dotes upon. Rahul is loyal to his friends, socially successful and charming. A single encounter with a mysterious woman changes a lot of things he would formerly assume as established facts about himself and hismarried life.

Iravati Harshe as Mitali is an intelligent modern urban woman and a professional sculptor. Married to a loving husband, Rahul, she gave up her career for her marriage and believes she has chosen well. She wants to work, but feels guilty about ignoring her husband and child. What happens at the party, the night before, could subvert the many truths of her life.

Dalip Tahil as Saxena is a middle aged writer who has had his moments of glory, fame and success. He is polished and articulate and has a penchant for philsophising. Some people say that hemarried for money. That could be true–but he is the life of every party, he is the intellectual that everyone wants to be with whereas Jolly is often the butt of many jokes.

Navneet Nishan as Jolly is Saxena’s wife who has aspirations towards intellectuality and has a Mrs. Malaprop like predilection for impressing upon others by dishing out funny instances of her half baked knowledge. She is frivolous and gullible, flighty and loud but an endearing person despite her failings when she insists upon helping the people around her.

Anu Menon as Nandini is married to Amit. The strain in their relationship begins when she catches him watching porn. She sees it as an indication of a failure of their relationship. She hopes to talk about it to her friends, Jolly and Mitali.

Vinay Pathak as Amit is almost a prototype of the regular Indian male. He hides from his wife and watches porn, but is also clumsy enough not to cover his tracks. Through the film we see him as a character hoping to undo the damage and en passant, also provides a comic relief, because deep down he believes he hasn’t really wronged Nandini and his apologies are both profuse and insincere.

Neha Dhupia as Sophia is the stereotypical femme fatale. An aspiring actor who holds everybody’s attention at the party but remains distant and aloof. Her character is like a jigsaw puzzle in the film, which slowly unfolds through a series of interesting interactions with the men she meets.

Synopsis

The movie is a film about three couples and a keen observation on the modern day marriage.

Rahul wakes up with a bad hangover after a party the night before. There he had met a sexy young woman Sophia. They got drunk and there were sparks flying. But Rahul doesn’t remember what happened after that. Did they…go all the way?

His wife, Mitali, is in a particularly bad mood and Rahul suspects that she might know about his little escapade last night. Rahul starts chasing his night – trying to retrieve it – trying to find out what really happened.

His friends Saxena and Amit are going through their own marital crisis of sorts. Driven to his wits end, he realizes that he must seek Sophia out to restore his sanity

A comedy of errors and manners, there’s something very classical yet fresh about Indian director/actor Saurabh Shukla’s new film. And while it doesn’t bat one hundred percent, it’s an honest little take on the breakdown of communication that can happen within relationships.

Rahul (Rajat Kapoor) and his wife, Mitali (Iravati Harshe) attend a big bash for a writer friend, and it is here that Rahul encounters the enchanting Sophia (Neha Dhupia, a former Miss India). There’s little doubt that these two have a connection, a real spark, that they coyly disentangle throughout the night. Things escalate, alcohol plays its part, and Rahul wakes up the next morn with no clear recollection of last’s night events and a livid wife.

The film is structured around putting the puzzle that is the party back together, with Rahul visiting his goofball pal Amit (Vinay Pathak), who was alsoat the party . Amit also happens to be dealing with marriage issues of his own, when his wife, Nandini (Anu Menon) stumbles on a little internet pornography he’s been ogling.
Rahul then visits the host of the evening, the writer, Saxena (Dalip Tahil) and finally he must track down the mysterious, Sophia.
Meanwhile Mitali is consoling Nandini, as is Jolly (Navneet Nishaan) the wife of Saxena. Battle of the sexes? Not quite… While the film plays the broad comedy card with “men are dogs” and such lines, its only toying you with such surface stuff. These people are stuck in that, because they really don’t want to face the music. Both the men and women have to figure out that maybe they shouldn’t be gossiping and bickering to each other and just go speak to their respected spouses.

Ultimately a little too long at 140 mins. Shukla, also a veteran actor, is adept at handling the large crowd scenes and both the little moments, things just needed to be tightened here and there. Minor characters and asides add up, and distract from the key triangle of Rahul/Mitali/Sophia. Kapoor (who directed FATSO) is genuine in his concern for what may have happened that evening. In no way does he come off as a sleaze bag. He’s a man whose life could shatter with one possibly mistake and he knows it. A solemn fear is cast over him, pushing him onwards. While most of the movie has characters wanting to point fingers, where it ends up is entirely the opposite  Almost tongue in cheek, there is a slyness to the movie that is fun to watch, though  the supporting cast is mostly there for expositional push and humor, and doesn’t always ring true, even annoys a bit. I’m namely speaking of Pathak, who just reminded me of Robin Williams for some reason.

Co-produced by Kapoor, both he and Shukla seem to be leading a pack of Indian filmmakers who are working outside of the Bollywood system, making commercial films, but having control over them as artists. As filmmakers they’re bringing in their friends to act; mentoring new talent, improvising… handling material that may not be all that edgy or artistically daring, but still equals solid storytelling driven by character. They’re getting to do it their way, while still finding a mass audience. In many respects this reminds me of the way Judd Apatow and crew have managed to work in and around the Hollywood system.  If these two groups are any indication of how commercial films in both industries are shifting, I think that’s a very good sign, indeed.