Mere Dost Picture Abhi Baki Hai

Some films arrive too late in the day. MERE DOST PICTURE ABHI BAKI HAIN is one such film. This one has taken a really longgg time to hit the screens. Resultantly, its concept and also the humor, which might have worked when it was green-lit several years ago, look completely out of sync in the present scenario.

A number of films with Bollywood as the backdrop have been attempted in the past. Films like GUDDI, OM SHANTI OM, LUCK BY CHANCE and THE DIRTY PICTURE have tremendous recall value even today. But MERE DOST PICTURE ABHI BAKI HAIN, which attempts to reveal the murky frivolities within Bollywood, stands on a hackneyed screenplay, while the execution of the material is flimsy.

MERE DOST PICTURE ABHI BAKI HAIN traces the journey of Amar Joshi [Suniel Shetty], who runs a video library in Banaras and aspires to be a film-maker. Despite facing objection from his father [Rajiv Varma], Amar Joshi decides to sell his video library and join a film institute in London. After completing his course, he lands in Mumbai to make his film. Suraj [Rajpal Yadav], a struggling actor doing bit roles in TV serials, is Amars only connection in Bollywood.

Amar Joshi starts his struggle to make his film by meeting various producers, who have their own take on Amars story. After many failed attempts, he finally bumps into Monty Chadda [Rakesh Bedi], a P.R. guy, who decides to produce his film. They seek the help of star secretary to convince Mohini [Udita Goswami] and her starry mother [Neena Gupta], who agrees to do the film.

Amars film comes to a grinding halt when Monty suddenly disappears. Amar is summoned by Sudama Bhosle [Deepak Shirke], a don, who was financing his film. He wants Amar to complete his film and also wants him to cast his girlfriend [Mummait Khan]. Amar reluctantly agrees as he has no option. But as luck would have it, Sudama is shot dead and Amars film is stalled once again.

Meanwhile, Monty resurfaces and decides to make Amars film into a magnum opus. Hence, a successful writer of many hits, Mr. Baig [Om Puri], is brought on board. Once in, Mr. Baig takes over the reins of the film from Amar and changes it into a totally different film altogether.

To start with, the concept of a film within a film sounds interesting, but the manner in which the drama unfolds looks amateurish, while its interpretation by director Rajnish Raj Thaku