If only Indian filmmakers would show a little more concern in their selection of English films that they opt to remake in Hindi, life would have been easier. The setback with a film like Ru-Ba-Ru is that while it’s remade in Hindi, it caters to a very select intelligentsia audience. And incongruously, chances are this intellect viewer might have already seen the original and, if not, would still prefer to watch it over the remake for highbrow reasons. So the entire purpose of remaking goes redundant.
If only the writers could have devised a more compelling storyline while deriving the format of storytelling from the original source, Ru-Ba-Ru could have been an absorbing experience. Unfortunately the narrative is dull and dragging. It’s an account of a workaholic corporate guy Nikhil (Randeep Hooda) who has no time for his ladylove Tara (Shahana Goswami). Their chemistry seems to be collapsing (in literal terms) as Nikhil takes Tara for granted. As Nikhil comes to terms with his aloof attitude, life gives him a chance to relive one particular day from his life when things went wrong. Nikhil tries his best to change events to his convenience but destiny has a different plan in store.
If only the film would have shown more consideration towards exploiting its imaginative outline to its merit rather than relying on destiny in its implementation, Ru-Ba-Ru could have been more effective. From the interval point you tend to believe the film is taking shape of a psychological thriller but by the climax it ends up being an abstract take on fortune and fatality. The flexible format of the film could have been molded into more inventive outcomes which director Arjun Bali fails to, thereby leaving a lot to be desired.
If only the screenplay would have not stressed on stretched-out subplots, the film would have been more focused. Nikhil’s conflict to accept his stepfather is half-baked and isn’t half as convincing as it intends to be. Moreover the father figure (Jayant Kriplani) mouths the most traditional lines to his to be daughter-in-law like “ kya tumhe khana banana aata hai” or “ mujhe uncle mat kaho, papa kaho”. Also Nikhil’s saxophone sessions don’t sound in sync with the story. Not to mention a song sequence on a deserted island seems to be absolutely isolated from the film.
The film initiates with a song sequence shot on 16-mm but the formula and its format, both seem to be irrelevant.
If only the emphasis would have been more on the chemistry of the couple over their kisses, one could have related more to their characters. Thankfully though, the smooches come in nonchalantly and aren’t blown up boisterously, like the customary Bollywood tendency is. Neither do you connect with a cabbie’ (a deadpan Kulbhushan Kharbanda) unsolicited sermons on the ‘art-of-dying’ nor with the ‘Romeo-and-Juliet’ drama episodes. The screenplay adopts a very informal approach, perhaps to be more casual and credible but ends up being bland and boring.
For sure , by now, you might have comprehended my suggestive statements. As occurrences keep recurring in the hero’s life, he mentions of a déjà vu feeling to the heroine. The conversant viewer would encounter the same déjà vu feeling while realizing that Ru-Ba-Ru is a frame-by-frame rip-off of the English film If Only (2004)
Ru-Ba-Ru literally translates in English as face-to-face. The film confronts the original source with equivalent impudence when it comes to imitation. – (Indiatimes)