The plot of Finding Fanny revolves around five characters Deepika Padukone (Angie) as Ranveer Singh’s (Garbo) widow, Deepika’s mother-in-law Dimple Kapadia (Rosie Eucharistica), Naseeruddin Shah (Ferdi), Arjun Kapoor (Savio) and Pankaj Kapoor (Don Pedro). Deepika plays the role of a girl who is always ready to help people and thus, Naseeruddin Shah’s dream to get his love becomes her dream too.
However, Dimple Kapadia, Pankaj Kapoor and Arjun Kapoor also join Deepika in the mission and then starts a fun journey. In the course of Naseeruddin Shah’s search for love, Pankaj Kapoor who is a self-obsessed painter develops love or rather lust for Dimple Kapadia, while Arjun and Deepika continue their romance on the other side.
Director Homi Adajania with the movie Finding Fanny has dared to offer the audience something which is very different from the contemporary Bollywood films. With a mix of young star casts like Deepika Padukone, Arjun Kapoor and experienced actors like Naseeruddin Shah, Pankaj Kapoor and Dimple Kapadia, Being Cyrus director Homi Adajania made a quirky and totally ‘hatke’ movie in the form of Finding Fanny.
Homi Adajania’s Finding Fanny although, is not a comedy film but the movie offers several moments which will certainly bring a giggle on to your face.
ocolim, a quaint, fictitious village in Goa symbolizes what FINDING FANNY is all about. Far away from the maddening crowd, unhurried languid pace, the meaning of ‘competition’ doesn’t exist in their dictionary and the inhabitants are kings/queens of their own sweet-sordid world. It won’t be fair to judge FINDING FANNY with the same barometer as the regular commercial fare doled out by Bollywood. Writer-Director Homi Adajania has dared to break all conventional rules and manages to serve an absorbing and entertaining story that keeps you interested all of 93 minutes of the run time. It will surely appeal to the target group of a discerning audience that values sensible entertainment. Yet, one can’t deny that it has a very limited appeal as the idea of film entertainment for most people in India isn’t intellectual artistry.
Homi Adajania and Kersi Khambatta’s writing is attention grabbing. The dialogues (in English, with a smattering of a Goan dialect) are intelligent, ironic and very funny. You’d love to read them again and again once the novel (from which the screenplay has been culled) will release next year. Even though the duration of the film is one and a half hours, the narrative is never hurried. There’s no eagerness to reach anywhere, it’s the eventful journey that takes you for a joyous ride. Love can be gloriously, subtle and enriching whether you are or aren’t looking for it. Lust is always fascinating. No two ways about it. The search for Stephanie Fernandes has its share of adventure, conflict, rediscovering love, germination of ‘Art’ and the redundancy of the ‘subject’ post ‘climax’.
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