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Synopsis
Kyonki Main Jhoot Nahin Bolta, based on the Jim Carrey-starrer Liar, Liar, is directed by David Dhawan and produced by Shobha Kapoor
and Ekta Kapoor.
The story revolves round Raj Malhotra (Govinda), a small town lawyer with big dreams. He wants to graduate to the Mumbai High Court.
One day he arrives in the city of dreams only to learn to his dismay that to make it big you need the patronage of a big man.
One day he chances upon a prominent lawyer Tejpal in court and is impressed with not just his talent but also his high living. Before
long he is viewing Tejpal’s son-in-law Adarsh (Sharad Kapoor) with a jaundiced eye, wondering how the young man rose to prominence all
of a sudden. He’s told by his friend Mohan Pyare (Satish Kaushik) that Adarsh was a struggling lawyer like him who had the good
fortune of wooing and wedding Tejpal’s elder daughter. Success followed his marriage.
That sets Raj thinking. He decides to make a match with Tejpal’s younger daughter, Sonal (Sushmita Sen). But he discovers to his
horror that he’s married an idealistic and self-respecting woman who would rather stay in a basti than let her husband become her
father’s ghar jamai.
She convinces her husband to walk out of her palatial bungalow leaving Adarsh the sole heir to the family fortunes. When Adarsh laughs
at Raj’s folly he is told that the war may be over but the battle is not lost yet. Raj in time would own the best bungalow in the
lane, the biggest car and be the boss of his own swanky office.
The incident marks a turning point in Raj’s life. Sacrificing his principles, Raj races ahead. He soon has all the money and fame that
he once dreamt of, everything except his wife’s respect and love. After seven years of watching him go steadily downhill, Sonal moves
out of his home with her son. The little boy disturbed by his parents’ marital problems. He sees a shooting star and makes one wish:
"Let my papa never speak a lie again!"
His wish comes true and suddenly our Liar discovers that he can only speak the truth. Even when he is trying to get the brother of the
city’s don off the hook. His sudden Raja Harishchandra ‘avatar’ lands him in all kinds of soups. But eventually Raj discovers that
honesty is the best policy.
The film stars Govinda, Sushmita Sen, Rambha, Anupam Kher, Sharad Kapoor and Satish Kaushik. Music is by Anand Raaj Anand.
Review
Once again Bollywood’s famous jodi of David Dhawan and Govinda comes up with a slapstick fare in “KKMJNB”. The film has a high
dose of spine tickling humor that is typical of many of Dhawan’s films.
As expected the comedy in the film is seldom situational and more random (at some places it is even blunt).
There are hilarious moments in the film that make watching it worth ones money like the one in which paupered Raj’s self-righteous
rich wife Sonal (Sushmita) refuses to take even a penny from her millionaire father and drains Raj’s plans to become rich in a single
swoop. Poor Raj is left scratching his empty hands.
Some good comic moments come from Anupam Kher and Satish Kaushik too. Had it not been for Govinda’s sleek timing and fluent dialogue
delivery alongside the commendable cameos by Anupam Kher (who plays Sush’s father Tejpal) and Satish Kaushik (as Govinda’s roly-poly
buddy Mohan Pyare) the film might have turned out to be a brooding fare.
Chi Chi plays the slaphappy hero to the hilt and convincingly slips under the skin of a compulsive liar who tells lies overtly without
even a wink. And with equal quicksilver delicacy he transforms into a compulsive truth speaker in the latter part of the film.
Whatever he does he excels.
Sushmita Sen shows remarkable improvement in histrionics and stands upto Chi Chi’s comic timing in equal stead. She looks gorgeous in
the first half of the film but looks vapid in the second half (as Raj’s wife) clad in tasteless Punjabi suits and salwars.
Buxom lass Rambha chips in for some oomph quotient in the story. She plays the other woman in Raj’s life.
Anand Raj Anand’s pelvic-savvy music score goes well with the film’s hilarious theme.
Although “KKMJNB”is an oddity in the changing face of Indian cinema (with the high quality films like “Lagaan” and “Dil Chahta Hai”
redefining the standards) the film does hold you to the seats through its two-plus hours of duration.
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