Firangi is boring. Kapil Sharma, who is among the most talented comedians, should stick to tickling the funny bone.
Firangi
'Firangi'
U/A: Romance-drama
Director: Rajiv Dhingra
Cast: Kapil Sharma, Ishita Dutta, Monica Gill, Aanjjan Srivastav
Rating: 
Midway through Firangi, Kapil Sharma's love interest, Ishita Dutta, tells him, 'Mujhe kuch samaj nahi aa raha hai tu kya kar raha hai.' That's probably what the audience would ask the comic throughout the film. Firangi is boring. The farcical performances and unnecessary melodrama are reminiscent of a bygone era in cinema. Set in 1921, 26 years before India's independence, the movie kicks-off with the familiar baritone of Amitabh Bachchan, whose narrative is redolent of the one he lent in Lagaan (2001). But, why bring up the Aamir Khan blockbuster in the same sentence as Firangi?
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On the surface, the film is about Sharma, a village simpleton. He is a jobless man aspiring to join the police force under the British Raj, but is unable to procure a spot after three attempts. He meets Dutta, inadvertently, at a friend's wedding in another village. The duo falls in love instantly. While all the bravery is futile, Sharma manages to bag a spot in the force due to his uncanny ability to fix a back problem with a kick. A sub plot of a British police officer cheating the villagers with the help of a king [Kumud Misra], suddenly begins to gather momentum. The miscreants hatch a plan to set up an alcohol factory, and intend to get rid of the residents of a village to do so. Here, the film takes a turn, emerging as a revenge drama instead of a romantic-comedy.
The plot is generic, familiar. Even the supporting acts disappoint. Character artistes like Aanjjan Shrivastav, Rajesh Sharma, Inaamulhaq and even Mishra, are reduced to caricatures. The foreign artistes, primarily playing cops, have comical accents. The direction too is weak. Coupled with a screenplay that certainly required more thought, this film emerges as a half-hearted effort from a man whose debut outing too tanked. Adding to the misery are the songs, which do little to further the movie. The film looks promising post-interval as it appears to garner pace, but slumps quickly as scenes and dialogues appear repetitive. The final nail in the coffin is a climax that seems to have been written in a bid to get the project over with. It is silly. Sharma, who is among the most talented comedians, should stick to tickling the funny bone. Even with an earnest attempt, he fails to deliver.
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