And, suddenly, my brother liked a girl and no one was yelling at him about it. I was still being weaned from my Catholic schoolgirl revulsion for boys (Because if you talk to a boy…you will die. It was weird to think of my older brother liking a girl. Its makers, its characters and its audience, everyone knew that Andaz Apna Apna was a joke and we were all in on it.īut I never expected Crime Master Gogo or Teja to touch my life in the way that he did in 2002, when I met my bhabhi-to-be for the first time. And they still get the girl, and the diamonds and the approval of their families in the end! It held a mirror to us and the image it reflected was hilarious. Jise dekho chala aa raha hai.”įrom playing slick, handsome heroes in their films, the Khan boys were like us - bumbling and struggling, hilariously idiotic and armed only with an arsenal of one-liners. In one scene, Aamir Khan observes to his competitor Salman Khan, “Do dost ek pyale mein chai piyenge … isse dosti badti hai.” As Teja put it so eloquently, “Na surat, na shakal, na akal.
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The film was the harbinger of a generation that would sooner sell their dignity on national television in a Splitsvilla or a Bigg Boss than have to do any work really, where friendship and honesty were reduced to cliches. The actors hammed freely, with Shakti Kapoor’s evil villain, Crime Master Gogo, proclaiming “Aaya hoon, kuch to loot kar jaunga … khandani chor hoon main, khandani … Mogambo ka bhatija, Gogo.” Comic legend Mehmood did a throwback to the “Wah Wah” productions from his another legendary comedy film Pyar Kiye Ja. The likes of Juhi Chawla and Govinda made appearances as themselves, humming songs from their own films. There was also a kidnapping subplot (that involves a bag of diamonds, obviously) and a double role played so deftly by Paresh Rawal - that turned his existing villian image on its head and established him as one of the finest talents on screen that was also showcased in another “cult” classic, Hera Pheri, in 2000.Īndaz Apna Apna was the first film in mainstream Bollywood to take a calculated dig at itself. Andaz Apna Apna was a comedy film that did not make the women the punchline and allowed them both to match the men punch for punch. The film is about Amar and Prem, two good-for-nothings who leave home after duping their respective fathers, to woo an heiress and her friend, Raveena and Karishma, (played by two of the most underrated comic actresses in Bollywood), Raveena Tandon and Karisma Kapoor.
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The movie was hilarious, but the internet did not exist to meme, quote, tweet, blog, and column the hell out of it. This was amazing, because at age nine, I didn’t even know what abs were. I laughed so hard, I remember feeling my abs the next day. One summer afternoon, while I lay on my stomach on the living room floor, like a dog cooling its belly, I watched the comedy for the first time on cable TV. Any illegally-run movie rental shop from New York to Nerul in Mumbai will tell you how Andaz Apna Apna is a film, that once borrowed, does not come back without multiple viewings and much later than the due date. Both were comedy films that didn’t fare well at release but garnered a following through television repeats and VHS/CD/DVD rentals.
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Just like anyone who grew up in the 1980s could recount the Mahabharat scene from Jaane Bhi Do Yaaron, anyone who grew up in the 1990s and early 2000s will be able to quote Andaz Apna Apna.