Sequences

The story begins on a light hearted humorous note as Purbi departs for her home town.

The loud scream from 4.54 to 4.55 is funny along with Himesh’s facial expression when he is holding the bags of a stranger woman trying to genuinely help her in good faith and then he drops them down with his stone faced look upon seeing Purbi and walks away as if nothing has happened.

Himesh’s double meaning lines like…AUR TUM DEKHNA KE YEH 15 DIN KAISE GUZAR JAYENGE KE from 6.07 to 6.08, I WILL BE FINE from 6.45 to 6.46 are hilarious in the way they amuse Purbi by raising her suspicions.

When Purbi says THEEK HAI TOH ME NAHI JAATI and Himesh replies with PAGAL HO GAYI HO from 6.20 to 6.21 is great dialogue.

When Purbi says I WILL MISS YOU OK, and Himesh points towards the bus door and says HAAN CHALO from 6.57 to 6.58 is good situational humor.

When Purbi gives Himesh all the gyan of daily household stuff and shows her concern from 6.59 to 7.42 gives a good vibe.

In the nightclub when Himesh’s colleague-cum-dost says, SHEEKA KA PHONE AAYA THA from 14.39 to 14.40, Himesh’s facial expression that changes from smiling to suddenly becoming numb stricken is great spontaneous act.

When Himesh pleads to his colleague SIR 15 DIN KE LIYE KYA AAP YEH TRUST WORD BHUL SAKTE HAIN? and his colleague’s SARCASTIC LAUGH from 15.36 to 15.39 and also from 17.04 to 17.07 & 1.25.12 to 1.25.14 is hilarious.

When Himesh’s colleague disregards the public and passes an audacious derogatory remark SALE YAHAN KISI SE BHI PUCHLO KYA WHO PHIR SE BACHELOR BANNA CHAHEGA, JOH NA KAHE HE IS A LIAR, KYUN? and the woman gets irritated and the male tries to console her by offering her a cold drink but in vain from 17.35 to 17.47 provides a light hearted moment (ise kaite hain khulam khulla logon ki khili udana).

When Himesh speaks along with eating his wada pau, SIR MAINE YEH DECIDE KIYA HAI KE JAB HAMARA APNA GHAR HO JAYEGA NA TAB HUM SHAADI KARENGE (subdued dialogue delivery) from 17.53 to 17.59 is sweet.

When Purbi says on phone YOU KNOW I TRUST YOU and then takes a SIGH (jaise ke upar ka fuse udh gaya ho) from 23.34 to 23.38 is cute.

The romantic angle kicks in at the arrival of Sonal Sehgal.Sadhna Sargam’s melodious halke se feel vocals along with visuals STRIKE A CHORD from 29.23 to 29.40 when Himesh diplomatically puts forward his coffee invitation in writing and the subsequent PALKE JHAPAKNA of Sonal as if to imply yes, followed by Himesh’s history vocals from 29.41 to 29.51

When Himesh takes Purbi’s phone call and tries to divert her attention by saying that SUDHEER HAS BEEN CHUCKED OUT FROM THE OFFICE YA and she replies WHO IS SUDHEER N HOW DO I CARE from 31.22 to 31.27 is cheeky.

Himesh’s weird facial expression in response to his colleague’s antics and his quick dialogue delivery in line HAAN KYUN whereby he puts his chin upwards from 32.18 to 32.19 is funny after which he walks away abruptly and his pakau dost is bemused, LOL.

When Sonal asks him SO SHEEKA BHAUT POSSESSIVE HAI…and the way Himesh nods innocently like a CHOTTA BACHA from 36.16 to 36.19 is cute.

When Sonal asks him HEY! MERE SAATH EK PARTY ME CHALOGE?...and the way Himesh nods sideways as if to affirm in yes from 36.36 to 36.38 is cute.

The kid in the party says MERE PAPA KI MUSIC KA CHOICE EK DUM BAKWAAS HAI from 37.51 to 37.53 is funny and family audience is going to cheekily smile whilst looking at each other.

When Himesh takes Purbi’s call and says HELLO from 39.18 to 39.19 loudly and when he says WHAT A BRIGHT IDEA from 40.23 to 40.27 as if a person is frustrated, irritated n pissed off but at same time trying not to show it.

Mango is a unique twist to da tale and breaks the conventional norms, the overall setting allows everyone to have a ball of a night out there.

The way Purbi lies on the bed with solace, sways in estacy with bindassgiri from 41.43 to 42.08 is cute.

Himesh's dance steps with the kid from 42.13 to 42.22 is super kool.

Himesh’s amused facial expressions as he escapes away from the opera lady as she puts her hand on his face from 43.19 to 43.20 as if saying to himself ‘aare baap re, yeh kahan phas gaya yaar’.

When Himesh’s phone battery dies and he says OOH in a concerned manner and ‘chulbuli’ Purbi who is in ‘jhoom barabar jhoom’ mode and suddenly stops dancing, turns around and looks back from 43.47 to 43.51 is cute.

The romance triggering scenes between Himesh and Sonal have a very calm soothing ambience in the car when it rains from 44.37 to 47.15

The story takes a twist upon the return of Purbi Joshi.

When Purbi says PARSO AARAHI HOON and the funny loud scream along with Himesh’s shocked facial expression from 49.07 to 49.15 as if ZOR KA JHAKTA DHEERE SE LAGE.

When Purbi returns, and Himesh is sitting on da bed ‘ekdum mooh latka ke’ and Purbi gets down from the bed and says BOLO NA, CHUP KYUN HO and looks anxiously at Himesh and he replies SACH KAHOON and Purbi replies HMMM in a subdued manner with a worried look in anticipation from 52.00 to 52.16 is really captivating stuff. When Himesh says, JAAN TUM ITNE DINO KE LIYE… and the relieved look on Purbi’s face from 52.18 to 52.47 and the way her facial expression changes whereby she breaks into a smile is a great execution of an overall delicately poised scene that could ‘make it or break it’ in terms of their relationship.

Lily Aunty JUST TOTALLY RWAKS DA HOUSE with her funny accent and pronunciation, and her deliberate wicked laugh from 53.20 to 53.23, 53.43 to 53.45, 54.16 to 54.17 & 54.28 to 54.30 which just cracks up da viewer into laughter. Her line, CHUU CHUU CHEE CHEE KUKRI KU from 54.25 to 54.27 is hilarious as Purbi blushes, make the viewer laugh hysterically.

Purbi’s facial expressions are commendable from 55.45 to 56.12 as she starts to cast doubts / suspicion and looks curiously towards Himesh’s cabin in which Sonal is also present, whilst answering questions of her colleagues half-heartedly without the presence of mind.  

Himesh’s line AB AAP APNI ADVICE SE MUKAR NAHI SAKTE from 1.06.05 to 1.06.07 is innocent.

Purbi gets a shock / jolt from upon learning about Himesh’s marriage.

After the verbal spat of words when Purbi comes to meet Himesh again with a lot of UMEED and HOPE to sort out their differences and that all will be well again and he gives her a cold shoulder in a relentless manner from 1.07.11 to 1.09.07

In HUM TUM song, when Purbi is all by herself…, sits and tries to figure out / interpret what actually went wrong in between 1.09.40 & 1.10.11, when she passes and sees Himesh feeding food to Sonal by his own hands from 1.10.13 to 1.10.26 and when Sonal is giving him a forehead massage in his cabin at 01.12.0 (aur yeh nazara dekh kar andhar se khoon khol uthta hai and how she bears and digests it is very painstaking), helplessly stares at herself in the mirror from 1.10.37 to 1.10.44, and then waits for Himesh sitting on the staircase from 1.10.55 to 1.11.08 and tries to talk with him but he shrugs her off. When Himesh ignores her from 1.11.02 to 1.11.13 whereby she feels totally dejected and again she comes and stands beside him in the waiting area of lifts from 1.11.16 to 1.11.42 in the hope of a fruitful conversation, the viewer really feels for her.

After she has tried everything within her reach and control and realizes that nothing is working out and things are going beyond reconciliation, the way Purbi cries her heart out (as in Hindi it is called PHOOT PHOOT KE RONA) when she can take it / bear it no more from 1.12.34 to 1.12.54, it is truly heart breaking and just shatters the viewer who has full of sympathy and compassion for her.

The romance triggering scenes between Himesh and Sonal have a very calm soothing ambience in the cinema hall from 1.15.40 to 1.18.17

When Purbi confronts Himesh at his doorstep and initially he gets itchy by tapping the car keys on the wood from 1.21.19 to 1.21.20 & 1.21.29 and later when she expresses her reasons for her fears and possessiveness, her whole dialogue delivery from 1.20.19 to 1.25.00 brings about a THEHRAV and gives da viewer a bit of a chill pill whereby she really excels as an actress in a serious mode.

The sporting look on Purbi’s face in between 1.29.00 & 1.30.30 when Himesh gets promoted and she genuinely feels happy for him is a sign of selfless love (despite being so overtly possive).

When Purbi discloses Himesh of her new job plans from 1.36.17 to 1.36.50 but the real reason is that she can no longer witness the new love affair proceedings going on in that same office as it has already taken enough toll upon her.

Contrary to her comical appearance the first time around, Lily Aunty is the catalyst for yet another twist in da tale when she comes to reveal of Purbi’s earlier plans from 1.37.10 to 1.39.36 and offers her 2 cents of advice / wisdom to Himesh who is caught in yet another jinx and realizes what a big blunder he has done.

TERE BINA arrives and enhances the emotional quotient and frankly speaking, who darasal actually baat kya ho gayi thi ke ‘jab Himesh rote hain, toh khud ba khud unke fans bhi unke saath rone lagte hain’ and Himesh depicts his emotions very well throughout the song whose lyrics also show his state as he is on his journey quest to win back his love of life.

When Himesh closes his shirt’s button and rolls over his sleeves, folds his hands to look as per her nagging demands and confronts Purbi who is waiting at the lobby and she gets astonished to see him standing outside from 1.51.36 to 1.53.10, at this point it becomes hard not to cry (and gutted for people with more emotional immunity). Aakhir laut ke bhoola ghar ko hi aaye!

When Himesh sits on the lobby floor by disregarding everything else around him and places his hands on Purbi’s leg and later says CHORO NA YAAR PLEASE DEKHO SAMAJHNE KI KOSHISH KARO and his hand moments from 1.54.46 onwards along with subsequent dialogues is a fitting finale as he begs and pleads her to accept him back in her life whereby the viewer is left wiping off the tears of happiness and joy. As the saying goes ke ‘anth me sab kuch theek thaak ho hi jaata hai…aur agar nahi hai toh picture abhi baaki hai mere dost’.

Top Scenes

Comic

> Himesh’s facial expression and his quick dialogue delivery in line HAAN KYUN whereby he puts his chin upwards from 32.18 to 32.19

> Lily Aunty’s scene from 53.08 to 54.30, especially her laughs and dialogue CHAA CHAA CHEE CHEEE KUKARIKUU.

Chill Pill

> Himesh and Purbi’s scenes from 51.35 to 52.59 & 1.20.18 to 1.25.11

Emotional

> Purbi’s outburst in HUM TUM song from 1.12.34 to 1.12.54 that shatters da viewer.

> The whole of TERE BINA song and when Himesh confronts Purbi outside the lobby from 1.51.36 to 1.53.10

Storyline

The treatment of story is executed in a ‘realistic real life’ way. The CHEMISTRY and RAPPORT between Himesh and Purbi in terms of TU TU ME ME (nagging sawal n jawab) is mind blowing. There is an EMOTIONAL CONNECT between their relationship which is the film’s USP, in the sense that when they break off, the viewer desperately wants them to reunite them back at any cost. This is where the film takes an ‘emotional roller coaster ride’ and it brings the viewer ‘tears of joy’ when they finally reunite.

The story also depicts the BOND between their relationship, in the sense that even after Himesh shouts at her and says that it’s all over and that is he totally fed up of it’ and Purbi still has faith in it and keeps on trying. It just shows her innocence and undying belief when she consoles herself when her colleague asks her YOU OK?  and she replies HAMARE BEECH JHAGDE CHALTE REHTE HAIN, WE WILL BE FINE, THEEK HO JAYEGA SAB KUCH from 1.03.35 to 1.03.42 in the optimistic hope that ‘all will be well’.

The KISS (keep it simple stupid) formula is used in terms of the overall office setting. The story is kept grounded to earth, this depicting the day to day instances of life i.e. when Himesh’s colleague buys banaras paan and says YEH LIJIYE BHAIYA from 18.44 to 18.45, when Purbi is driving and she yells in frustration WHY CANT PEOPLE DRIVE IN THEIR GOD DAMN LANES from 36.07 to 36.09, when the office peon vacuums the office from 32.22 to 32.30, when Himesh’s colleague changes gears in the car from 1.25.14 to 1.25.15, and these small nuances point that the script is not ‘concocted or cooked up’ but rather ‘practical and realistic’.

The story also depicts that never to take any relationship and anyone FOR GRANTED. It also depicts that how painful it is for a lover to bear getting dumped, and ignored despite numerous attempts and still face her lover in everyday life, which is an indeed hard pill to swallow for anyone in a relationship.

Also the story doesn’t show any of the women as the VILLIAN / SPOILSPORT as usually da norm is and this fact is re-iterated in Purbi’s dialogue RISHTA KABHI KISI TEESRE KI WAJAH SE NAHI TOOTTA from 1.27.19 to 1.27.22 and later when Sonal says to Himesh that AGAR TUM SHAADI NAHI KARNA CHAATE TOH ME BHAIYA SE KEH DUNGI THAT I DON’T WANT TO MARRY YOU from 1.16.05 to 1.16.09, TUMNE JOH BHI KIYA SAHI KIYA N FROM THE HEART IM REALLY HAPPY FOR YOU in between 1.46.31 to 1.46.57

The story also incorporates the corporate world but again breaks away from the norm, as in most cases lovers use such opportunities as stepping stones to enhance their career prospects but here the lovers don’t care about the promotions aspect in their quest for love, which in itself is the sole driving factor (and not really money).

Overall, it is a clean family entertainer and a decent watch that hooks on and engages the viewer during its entire run time length.

Performances

Himesh grows leaps n bounds as an actor and proves yet again that he can ACT which is the most important aspect in B-town. There have been so many model turned actors but with lack of facial expressions and adequate skill set necessary to act (for example like Arjun Rampal, Zayed Khan) and due to this aspect they have found the going relatively tough despite being in da industry for numerous years.

Both Purbi Joshi and Lily Aunty HIT A SIXER and Sonal Sehgal plays the ‘other woman’ with grace, charm, poise and elegance.

Purbi Joshi looks a CUTIE MUTIE (especially from 1.48.32 to 1.48.33) and SMOKIN HAWT with her tanned overtone make up foundation. She rwaks coz she also calls Himesh as HR in real life.

Himesh’s pakkau colleague-come-dost gives him great support with his sarcastic humor and laugh from from 15.36 to 15.39, 17.04 to 17.07 & 1.25.12 to 1.25.14 which is hilarious.

Rajesh Khattar as Sonal’s dad and rich boss fits the character with his corporate look (including facial hair and hairstyle). His dialogues KYUNKI WAQT BHAUT KEEMTI HOTA HAI, TUMHARE JAISE CAPABLE AADMI KA BHI, YOU HAVE IT IN YOU WHAT IT TAKES TO BE SUCCESSFUL from 1.14.46 to 1.14.55 and directly puts forward the proposal of her daughter’s marriage and says like a typical corporate dad who wants da best for her…A NO IS NOT GOING TO MAKE ME HAPPY, LEKIN ME NAHI CHAATA KE TUM KISI OBLIGATION ME AAKE HAAN KEHDO from 1.15.20 to 1.15.30 thus indirectly and diplomatically implying that Himesh has no other choice really.

There are some cute scenes between Himesh and Purbi:

> When Purbi says BABU and does an artificial kiss MWAAAH from 51.35 to 51.37

> When Purbi makes a naughty facial expressions and vocals from 52.49 to 52.58, waah kya natkhat aadeyein hai!

> When Purbi says TOH ME POISON KHAA KE APN JAAN DE DUNGI, KYUNKI ME TUMHARE BINA MAR JAUNGI MERE BALMA from 1.48.18 to 1.48 to 1.48.23

> When Himesh eats hot n spicy paani puri and she also eats a green chilli (in flashback) from 1.49.41 to 1.50.03 is heartwarming.

Songs

Songs are nicely interwoven into da storyline and enhance its flow. Background score also does full justice to the situational backdrop setting.

Yun Toh Mera Dil marks the trigger point of Himesh and Sonal’s relationship.

Mango is a unique unconventional outing with curiosity value and fresh appeal.

Hum Tum comes at the delicate juncture where the protagonists are at cross roads.

Meri Gali Aaja Ve Maahiya enhances the desperation plea aspect.

Madhushala is the only inapt placed song considering the situational needs, because things are quite serious and heated up at that point, with the lovers in double minds and having self doubts. But the lyrics depict this part KABHI AAR GAYA KABHI PAAR GAYA but in a light hearted way. But, this song was slotted here on basis of commercial sensibilities as it was a popular massy number. Also the traditional dance steps of the leading ladies from 1.34.45 to 1.34.50…ufff, BASICALLY DIMAG KHARAB KAR DETE HAIN.

Tere Bina comes again at a delicate juncture whereby Himesh realizes his blunder and wants to patch up, and hence the song contributes towards the emotional build up until the leading finale moments where the emotional bubble bursts.

The other two popular massy numbers Title Trax and Umrao Jaan are slotted in opening and ending credits respectively to leave an impact and start / end the film on peppy light hearted notes…remember Damadamm was all about smiles!