Marriages are as an integral part of Indian cinema as they are a part of Indian culture. Be it about arranging marriages, finding the special someone or, as in the case of Dhula Mil Gaya, avoiding the special someone. Indeed Mudassar Aziz has put together quite an intriguing family entertainer. It has the packaging of a typical entertainer with a great story and if it hadn’t been for the innumerable flaws in writing the post interval, the film could have been perfect, but it looks like that’ll just be a dream for both the audiences and the makers.
Dulha Mila Gaya begins when ignorant playboy Donsai (Fardeen Khan) has to rethink his party animal life after his father passes away, leaving him with a completely unreasonable term in his will. This term states that he can only inherent his share of the property if he marries the girl chosen for him. So out of desperation, Donsai heads to Punjab to marry the village belle chosen for him, Samarpreet (Ishita Sharma), planning to abandon her the moment the ceremony wraps up and to return to his high life – leaving her with the promise that he’ll return soon for her (with no such plan in mind). The real story begins when Donsai’s bride Samarpreet arrives in West Indies to claim what’s hers only to find that the man she married foolishly was nothing more than a cheat and liar. The rest of the story is about how Samarpreet aka Samara gets to her happy ending with her prince charming with the help of Donsai’s diva friend Shimmer (Sushmita Sen) who is adamant to get the naive Samarpreet the love of her life and teach her good friend a lesson of a lifetime!
Mudassir Aziz is a one man army when it comes to DMG – director, screenplay writer, story writer and even dialogue writer. However, perhaps doing so many tasks at once isn’t recommended. Whilst the first half of the film is rather entertaining and has no real flaws, the post interval shows flaws in abundance. Firstly, you question why on earth Donsai can’t recognize Samarpreet. Just because of a minor makeover? Honestly didn’t we already encounter such a na
