Movie starts with same scenario as part one with Amar (Ritesh Deshmukh) this time is shaking the milk bottle to feed his new born baby. Meet (Vivek Oberoi) is married with business women (Karishma Tanna) who is busy with her boss most of the times. Prem (Aftab Shivdasani) is married to a housewife (Manjari Fadnis) and thus she remains busy with all the house work and can not give time to prem.
After going though dry marriage life they receives call that they are invited with family for college reunion. They try to convince their wife to come along in college reunion but they denied with several reasons. So, three friends units to drink together and prem gets grand idea to go in college reunion and make affair.
To put it plainly, the subject in Grand Masti is lust. Amar, Prem and Meet think only of women, specifically theirs. Then they speak of it (many), cherish it, pity it or are terrified at the idea. But they do not associate more feeling or morality with it than with any other part of their bodies. Their lust is the image of the apple of their eyes. The delight of seeing a pretty girl is as devoid of ulterior motives as having a pleasant time with her.
Grand Masti is amoral and a-sentimental. This is also what the title says, we are just there to have fun and enjoy, in large widths. Okay, I will not get away with it so easily. Our three heroes are therefore married, and after a few years they begin to despair. Their charming wives are not interested in trifling. Worse, they totally control their lives and they see themselves as nice dogs on a leash.
They actually experience the immemorial distress of the hunter-gatherer whom his wife forced to work in the fields. So when the opportunity to find for a few days the freedom of their young years presents themselves, they jump on the occasion. They do not think badly, since they think only of themselves.
Arriving on campus for a meeting of former students, it does not take them much time to come across three accommodating young women. We must defend them here. It is not they who went to them, but those who harpooned them. This is the opportunity that jumped on the thieves. They would have been hard pressed to disrespect them, but they inspired them too much with the holy Indian scum of women. And then where is the trouble to accept a gift from heaven? They succumb therefore to temptation, but deliverance will take a little time to arrive.
Their problem is the director Pradeep Rawat, kneaded by moral rigidity, who is only concerned with the edification of youth. He went on a crusade against anything that might resemble a cordial entente. There they are, then, running in shorts between two slamming doors. You might object that, after all, he is right about this principal. Amar, Prem and Meet have indeed deceived their respective women without hesitation!
Well no. All this is just a big joke, stories that boys tell each other in the playground, formerly in the army or in the dressing room of a gym. Rose, Mary and Marlow (the three welcoming damsels) exist no more than their father. The situations and the jokes arising from it have no other purpose than to reassure the male spectators on their own virility and their power of seduction. We are among men, and we laugh at ourselves and our little misfortunes without making too many illusions.
Certainly, the comedy in Grand Masti is not of great finesse, nor always of great originality, but it works. It joins in this the international canons of the genre, and the raven which pecks the crotch of Prem is well worth the anthology of Mary. Similarly, Goldmember's Fook Mi and Fook Yu twins find their counterparts with Rose, Mary and Marlow (the three chained first names are pronounced in Hindi as Roz Meri Mar Lo, something like Fuck me every day.
Indra Kumar took over the three main characters of Masti to realize nine years later a totally different story in a tone that has nothing to do (nor to hear). He has preserved a universal point of departure, that of the submission of husbands to their wives, to serve us a comedy that goes well beyond what Bollywood usually offers us. It is also very different from the American sex comedies like the American Pie. The characters here are rather endearing and the humor is finally good-natured. Grand Masti happily put us in the presence of individuals so frustrated that we wonder if it will not slip seriously.
Two or three jokes, like the formidable farce of the buffalo, go a little farther. But it would be hard to describe them as bad. Visual gags and two-way erratic dialogues are permanent. They are by chance most understandable even by those who do not speak Hindi. On the other hand, we must have a pretty good idea of the English vocabulary. Rest assured, a few words suffice. The Y chromosome must have an influence on the language.
The three choreographed songs are rather agreed and their melodies will not stay in the ear. The first, Zulmi Zulmi, which gives priority to young Western women in bikini, would almost give seasickness by dint of camera whirling. The title song Grand Masti does not shine either by its melody. On the other hand, its very representative refrain of the film does not fail to impress, even in the original version: I got a rocket in my pocket/O baby come and launch it/So we can fly away now.
The lust is sometimes difficult to bear, but when presented as here, with kindness and without any unhealthy afterthoughts, it can be very fun. It must be admitted, however, that Grand Masti totally excludes the female audience, who will certainly find it a crushing rudeness. But his liberating triviality is assumed. The young Indian men were not mistaken and rushed en masse to see this film that is out of the ordinary.
Indra Kumar thus turns out to be the pioneer of this genre that is completely unheard of for the good Bollywood, where the spicy scenes are carefully left to the imagination of the viewer.
The film is not driven forward by its plot, but by the continuous allusions, jokes and gags created specifically to make the right-thinking blush. The over the top script (perhaps a little too much, according to many) offers scenes that are provocative and that may seem in very bad taste - but when you decided to watch Grand Masti, you knew what you were getting into.
Indra Kumar knows his target audience very well and also knows how to capture it: and if many argue that the first half is not at all as pleasant as the second, the deep cleavages of the actresses make those to whom the film is addressed - the young boys and the masses - forget everything. A special mention goes to the leading actors, appreciated for their tireless performance.
We recommend watching this film only to an audience that likes openly scandalous jokes, that knows how to smile from the most murky of allusive jokes and from slightly excessive shots.
