The basic premise of Rab Ne Bana di Jodi is the oft-repeated true-love wins all; but the way it is executed in three long hours is hardly convincing; pretty much like Bobby's oft-repeated plea to Surinder to tell Taani the truth. It���s avoidable.

It is revealed, Taani is the daughter of Surinder’s teacher (M.K. Raina) and was supposed to get married, but for destiny; the wedding party, including the groom, get killed in a road-accident.


The father, on his death-bed asks Surinder and Taani to get married, but Taani doesn’t love Surinder and tells him so. Surinder asks Taani to take her time.

In the meantime, Taani gets to know about a dance-competition being organised in Amritsar and wants to take part in it. Surinder who by now, knows, he has little chance with Taani, tries to win her over in a new avatar, Raj – cultivated by his best buddy, Bobby Khosla (Vinay Pathak).


Initially cold, soon Taani falls for the flirtatious Raj.


Whom will she choose over the two Surinder or Raj?
The basic premise of the film is the oft-repeated true-love wins all; but the way it is executed in three long hours is hardly convincing; pretty much like Bobby’s oft-repeated plea to Surinder to tell Taani the truth and Surinder’s fickle and flimsy reasonings, just like the characterisations.
Surinder Sahni and Raj are diabolically different characters – such jump in a personality is not possible without a personality disorder.


Cinematic liberty, I would say.


Take the lead actresses’ characterisation. While watching a movie, Taani enjoys the hero (a Hrithik look-alike with the entire film borrowed from Hrithik’s adfilm) bashing up the goons and saving the heroine; a typical macho man. She is bored watching typical candy-floss romance. Yet, in one scene she tells Raj that she doesn’t like macho men. Huge jump!


The scene where she tells Raj to run away with her is the final undoing; because none in the audience sympathise with the character, Taani.


The contempt she has for Surinder – a scene where she tells Surinder – you are just fit for this four by four room, wearing spects and working in Punjab Power, is precisely the problem with Taani, she doesn’t want a normal guy, she wants a go-getter, which she finds in Raj – the entire climax of her turning around for Surinder – is unconvincing and fickle – and moreover, will such a girl live happily ever after with her husband? Hey, we are watching an escapist fare, aren’t we?


The film could have worked well, if the characters were delved into, more so the character of Taani. The background she has – riding a bike and don’t mess with me attitude – it is hardly unlikely that such a girl would ever marry (including her father’s death) a guy like Surinder and when the very onset of a film is wrong the film is bound to dither.


What rocks the movie?
Haule Haule… the song is one of the most melodious songs of 2008.
The end-credits: The stills of Surinder and Taani in Japan with Shahrukh’s voiceover. Vinay Pathak as Bobby Khosla.

A couple of sequences:
Taani riding a bike to teach Dolly and Tiny a lesson, with Raj hanging around; the golgappa bet.
The immediate next scene of Biryaani and Shahrukh after a full stomach blurting “kaun kehta hai pyaar mein dard nahin hota”
Flashes of vinatage-Aditya Chopra touch (read DDLJ) in blocking a couple of emotional sequences.
Second half

What chucks the movie?
The basic premise, you never really feel for Taani or even Surinder Sahni.
Length, three hours is pretty long time!
Look. Shahrukh looks to old, as Surinder Sahni, he is still bearable but as Raj, particularly in close-ups the age and the wrinkles show! Anushka Sharma has a camera-friendly face, but she really needs a good training in acting, particularly emotional scenes.
First half.

Verdict:
Die-hard Sharukh fans might enjoy it, for the rest it is an extremely avoidable film with nothing to offer.