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Directed by – Atul Manjrekar
Produced by – Bhushan Kumar, Krishan Kumar, Anil Kapoor, P.S Bharathi, Rajiv Tandon, Kussum Arora, Rakeysh Omprakash Mehra, Nishant Pitti, Virrendra Arora
Starring – Anil Kapoor, Aishwarya Rai Bachchan, Rajkummar Rao, Divya Dutta, Karan Singh Chhabra, Pihu Sand, Anaitha Nair
Adapted from the Belgian film “Everyone’s Famous!”, an Oscar designated film in 2001, “Fanney Khan” is the account of a dad who goes to different lengths to urge his girl to wind up a star vocalist.
Hindered by white collar class-family weights, Prashant Kumar otherwise known as Fanney Khan, a wannabe artist cum-entertainer surrenders his fantasy of becoming wildly successful in the excitement area. Rather, he longs for making his girl into a singing star, much the same as Baby Singh (Aishwarya) the supreme singing sensation, who he appreciates.
In actuality, his little girl Lata – named after the songstress Lata Mangeshkar – is a large imp who is entirely average and has black out respect for her dad’s feelings. Prashant is a decent man, persevered by his patient spouse Kavita (Divya Dutta) and cherished by his closest companion Adhir (Rajkummar Rao), his colleague in the manufacturing plant. The film fills in as a parody. However, when the police precipitously acclaim a man they have each motivation to accept is holding a prisoner, the film has surrendered any shred of believability and is just attempting to be a pleasant comic drama. It is decent, yet a sorry drama.
The plot verges on to being strange and doltish, yet is sweet, agreeable and entertaining. Be that as it may, truly, it sets aside opportunity to fabricate the characters to candidly put resources into them. What’s more, there is nothing charming about the hero. Anil as Fanney Khan is himself and is relatable. He is never out of his customary range of familiarity and on occasion he seems to be somewhat finished the best.
Pihu Sand is amazingly gifted. In her lady film, in a customized part, as Fanney Khan’s little girl Lata, she illuminates the screen with her characteristic vitality and conveys an energetic execution, particularly in the finale tune. Aishwarya as the artist Baby Singh is beguiling. She conveys a lively and unconstrained execution. She is a sheer treat to watch when she shares screen space with Rajkummar, who is splendid as Adhir. The tunes in the film work consistently in the account and are arranged with rise to talent.
By and large, the film offers guarantees and expectations, yet on a false note along these lines making the story suspicious.