On the whole, YEH TERAA GHAR YEH MERAA GHAR has something for the classes, but not much for the masses. Mahima Chaudhary does well in a couple of sequences, mainly the one when she is throwing Sunil out of the house. Sunil Shetty tries hard to fit into a comic role, but is far from convincing. Dialogues are witty and the tongue-in-cheek humour will be appreciated by a select few in the big cities. The 'basti' set (Sabu Cyril) is realistic. The songs are mediocre and even their placement is erratic.Ĭinematography (Jeeva) is eye-catching. Anand-Milind's music is equally uninspiring. He seems to have concentrated on making the frame (form) look lovely, neglecting the painting (content) in the process. The second half does precious little to elevate the goings-on.ĭirector Priyadarsan is not in form this time. Though the issue is serious, there is absolutely no seriousness in the goings-on. The story barely moves in the first half. The wit and humour depicted is very city-centric and for the common man or for those looking for hardcore 'masala', the film has precious little to offer. What adds to the woes is the lethargic pace the narrative moves. Actually, a subject like this is best suited for the small screen. YEH TERAA GHAR YEH MERAA GHAR also falls flat because it has been treated like a television serial. But, alas, the viewer of today has no patience or excitement for such films anymore. The subject instantaneously reminds you of the films attempted by Hrishikesh Mukherjee and Basu Chatterjee in the 1970s. YEH TERAA GHAR YEH MERAA GHAR is akin to a vegetarian 'thali', without spice. In the final tally, does Sunil get his house? What happens to Mahima? And what about Paresh's plans? He starts double-crossing to keep both the parties happy. His problem now is that he can neither say 'no' to Dayashankar, nor does he want Saraswati and her family on the roads.
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