The Lahore of the film is lightly sketched (like the Karachi of Tere Bin Laden), with just enough detail to make the comedy seem rooted yet it seems, to me at least, like a loving portrait. There’s a specific kind of joy in seeing Afridi roll out line after line in ornate Urdu, only to be responded to in earthy Punjabi (the film’s best joke is in the form of an untranslatable curse: “Tashreefein lag jayengi"), but there are even simpler pleasures to be had, such as Bagga’s supremely ridiculous blue shades. After a while, I stopped bothering about who was kidnapping whom and concentrated instead on the non sequiturs and asides the film kept tossing out like when Happy, in the middle of one of her tirades, calls Afridi “Shahid ke chacha". As you might have guessed, the plotting isn’t altogether comprehensible-or important.
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