Review: It's nothing but a dream

Film: London Dreams (U/A)
Director: Vipul Amrutlal Shah
Cast: Salman Khan, Ajay Devgn, Asin
Rating: **

An ironic tale that represents a clash between ambition and friendship, somewhat like the far superior Amadeus, London Dreams is given a leg-up by a strong story let down in execution and technique.

The lifelong dream of Arjun (Devgn) is to perform at London's Wembley Stadium to correct a blemish on his family's history. A twist of fate and Arjun moves from his village in Punjab to London, leaving behind his best friend. Mannu (Khan) is a happy-go-lucky flirt, raised on music but harbouring no ambitions.

In the first major slip-up, child Arjun rather easily finds his feet in London and adult Arjun performs Hindi songs to a rapturous audience in Trafalgar Square (really?). As Arjun gets close to realising his dream, he has Mannu join his band, 'London Dreams'. The skirt-chasing wastrel turns out to be more talented than Arjun, stealing public attention, praise, and the woman of Arjun's dreams, Priya (Asin). Hurt, angry, and jealous, Arjun self-flagellates (no kidding) to stay focussed on his Wembley aspiration.

Considering that music (Shankar-Ehsaan-Loy) is a predominant theme, the soundtrack is unexciting. The film is further hampered by poor sound (the concert feel is missing), average cinematography, and inexplicable costuming. It is also difficult to imagine the over-40 Devgn and Khan as rock stars. There are too many missing dimensions to the storyline, and Shah falters in developing situations and characters details even within 2 hours 30 minutes.

How does Mannu get addicted to drugs in three days? Why can't Arjun just be honest with Mannu, who seems to be unwaveringly loyal? Why does the band hardly rehearse? How does a child alone in London manage to get into music school, wear cool clothes, and buy expensive equipment? Perhaps if the process of his making a home and surviving in London had been developed, the audience might have built a connection with Arjun. Conversely, Mannu is likeable throughout.

Devgn is unconvincing as the single-minded, selfish singer who will forsake friendship to reach his goal. The character offers him a range of emotions—ambition, love, jealousy, rage, regret—but the actor carries it through with a single frown. Asin has little to do, but is far more controlled than she was in Ghajini.

Salman Khan steals the show. Controlled well by Shah, he delivers with spontaneity, lifting his scenes even if he is stuck with a character too good to be real.

The passion for music, the adrenalin of a live show, and the authenticity of sound are absent. You would have to be dreaming for 90,000 people to turn up at Wembley for a Hindi music performance!