'Patiala House' Movie Review

'Patiala House' Movie Review: From 'Kal Ho Na Ho' to this Kahlon saga about baap-beta stand-offs, director Nikhil Advani has remained an undeviating votary of melodrama. With dogged determination, he has followed the one-point formula through one hit and two massive flops in his career: piping in as much melodrama and tear-jerking moments quintessential to the Hindi cinema genre that’s been dying for years but is yet not fully dead. Patiala House, in that sense, is another salaam-e-kitsch by the director who refuses to throw in the towel or change course despite two rude awakenings from the box office.

'Patiala House' Movie Stills

Times change, people don’t. That’s precisely also the case with Gurtej Singh Kahlon (Rishi Kapoor) -- a proud Sikh in Southall, London -- who has nurtured a visceral hatred for the goras ever since a fatal racist attack on his late mentor (Prem Chopra) two decades ago. Over the years he has grown (rather degenerated) into an autocratic figure whose diktat is the final word in the household called Patiala House, bustling with daughters, ghar-jamais, cousins and a sheepish, servile beta Pargat (Akshay Kumar) who toe the line etched by their bigoted bauji.

Everyone has had to sacrifice some dream. Someone wanted to be a rapper, but is now doing kirtans; someone wanted to be a chef but is making jalebis; someone wanted to be a film-maker but is a cabbie. Most of all, Pargat has smothered his dream of being a pace bowler for England and is now content with an utterly boring and humdrum existence as the keeper of a provision store in Southall. All because of the gora-hating, venom-spewing, domineering bauji.

But then, a young girl Simran (Anushka Sharma) with a questionable reputation prods and dares Pargat to realize his dream and play for the English team against the wishes of his father.

For most of its running time, Patiala House keeps zigzagging between melodrama and light humour. One moment, Advani wants you to yank out your kerchiefs to dry the moistened eyes, the next he tries to regale you with the antics of the Punjabi brood with its bunch of wannabes. That’s the course the film charts for the first half before slipping into a somewhat silly zone in the second half, as the odds and sods of the Patiala House literally run from pillar to post to keep the truth hidden from bauji.