These dialogues in the film are inane, and so is the film. But then, that is what Great Grand Masti is all about. A silly, frivolous film. Constructed on the familiar template of the Masti series, Great Grand Masti is shades better than its previous edition, Grand Masti which released in September 2013. What makes this adult comedy notches better, is the fact that it is a much more tolerable film than its prequel. Wrapped in horror tropes, this edition once again deals with the three sex-starved friends; Meet (Vivek Oberoi), Amar Saxena (Riteish Deshmukh) and Prem (Aftab Shivdasani). Their sexapades form the crux of the tale. The narrative begins with their predicament of what leads them to being sex-starved. The trio then make their way to Dhudhwari, a remote village, where they dream of a village full of buxom women. The village also happens to house Amar’s ancestral haveli, which he plans to sell.
When they land in the village, they exclaim, ‘Let’s milk this opportunity guys!’ But they are warned by the village headman, Ramse (Sudesh Lehri) that the palatial house that they plan to visit, is haunted. Not heeding his advice, the three friends enter the house and meet the legendary nymphomaniac spirit Ragini aka Sabri (Urvashi Rautela), who haunts it.
How the trio get out of the spirit’s clutches is what keeps you hooked. Tushar Hiranandani’s story is simple and uncomplicated.
The plot is predictably formulaic, but it is the situations along with the inane yet perky dialogues by Madhur Sharma that make the film endurable.
The dialogues packed with innuendoes, double entendres and rhymes are poetry to the ears, except that these lines are profusely loaded with adult humour, that’s neither crass nor profound.
On the performance front, the trio of Vivek, Riteish and Aftab, excel with their impeccable comic timing. They are consistently brilliant with their act. But the issue is, that this being their third edition, there is nothing extra-ordinarily different that they offer. Their traits are uninteresting and predictably boring. Their wives essayed by Mishti, Pooja Bose and Shraddha Das, are as insignificant as their characters. Urvashi Rautela with two songs and a well-etched character has her on screen moments to shine. Sanjay Mishra as Antakshri Baba, the conman who uses film songs to convey his messages to his devotees and Usha Nadkarni as Amar’s mother-in-law are trite and wasted. Sreyas Talpade in a cameo as the gigolo in a cowboy gear contributes nothing by way of performance. On the technical front, the film is radiantly mounted with good production values. The camera work is standard that is expected from a good production house.
The unwarranted animation used in the flashback scene is poorly executed. The songs; “Where are you, mujhe tayar karke?” and “I wanna tera ishq, ishq” are racy and typically buoyant.
They mesh well into the tale, but they do not add any extra flavour to the narrative. Overall, as Ragini mentions, ‘Masti ka maza, zabardasti mein nahina’ but the film at times does go overboard, especially during the climax. (IANS)
