Since one didn’t have many expectations from ‘Miley Naa Miley Hum’ to begin in, there isn’t any real disappointment after one is through watching the film. Boasting of a thin story line that hardly carries any major conflict (or any major twists or turns at the least that could made the drama far more engrossing), MNMH works only in patches hence leaving one a lot under-whelmed as the end credits start rolling.
First things first, despite three leading ladies in the film, MNMH is not a romantic affair. Instead it is a family drama where our young protagonist (Chirag Paswan) is on an endeavour to reunite his estranged parents (Kabir Bedi and Poonam Dhillon). This means that even if our hero here is one of those ‘can’t-do-anything-wrong’ guys and comes across as one of those men stepping out of Rajshri sets, you stick along with hopes of storytelling moving ahead and bringing on some sparks at the least.
So Chirag is someone who makes sure that all ‘intezaam’ are taken care of a ‘Ramu kaka’ kind of character when the old man finds difficult to get his daughter married (what would have happened had all other kakas gathered in front of his vineyard as well?). While he practices Tennis, he tries to play another game – that of a balancing act – between his mom and dad. So even though one tries hard to find the ‘real’ cause of separation between the parents and instead wonder whether the reasons offered were frivolous to say the least, Chirag continues to get caught himself in one frivolous moment or another.
This means that one day he is snapped in a harmless dance floor session with Sagarika Ghatge (prospective bride no. 1) and finds his face stamped on Page 1 (no Page 3 here, after all he is the scion of a multi billionaire mom), another day he finds a ‘sanskaari kudi’ Neeru Bajwa (prospective bride no. 2) rolling all over him in a ‘dhabha’ entirely made of truck drivers and other Romeos even as her dad (Dalip Tahil) continues to flaunt his chicken-making-expert ‘laadli beti’.
Tired of all the random ‘rishtas’ coming his way, young man turns around and makes a decision (finally!). He approaches a not-so-happening model (Kangna Ranaut) with a ‘decent proposal’ and asks her to spend 20 days with him, if not nights, so that he could have the other two brides off his way.
Of course it is this portion of the film (in the earlier part of the film’s second half) which is cute and brings a smile on your face, courtesy Ms. Kangna’s bumbling and fumbling act. However the moment this conflict-less drama proceeds with a five minute song sequence ensuring ’20 din mein pyaar’ between the young ones, it is back to fuming papa and fuming mom. Suddenly out of somewhere there is the entire tennis episode that comes alive on screen and as expected, eventually all is well. Moreover, just when one would have though that this would be enthralling and engaging, it turns out to be drab.
So what really remains with a viewer in the end? Well, a few scenes where Kangna shines with her sweet act as well as music by Sajid-Wajid which brings in intermittent spark when there is no real movement in the narrative. Also Chirag, despite this being his debut effort, is fairly decent and also appears to be a natural. Of course he is stiff while dancing and also has a stooping body language at places. However his facial expressions bring on some charm to the proceedings hence making one believe that he would be seen again on the big screen.
What strikes you moments after stepping into ‘Miley Naa Miley Hum’ is it’s scale. Frankly, some of the major television soaps today boast of far more grandeur when compared to this film which actually is nothing more than a short story that has been told over a 100 minutes duration.