Leaden still leaves us in astate of paralyzed perplexity. It espouses a tone of primitive constancy to the cult of master-slave affinity whereby a profound is self-confident to lay down his life for his lady and master.
As Well-behaved Singh Salman brings a lot of fun into to his part. That he plays the part of the uniformed macho-man with dryness is a mercifulness in a shell wherever the script and categorize reek of over-elaboration and melodramatic self-worth.
The lettering by the director himself favours the action pattern but also seems to love the T Rama Rao-Dasari Narayan Rao-K Bappaiah type of Southern potboilers from the 1980s wherever two women become embroiled in an emotional keep up with the exceptionally man.
Kareena Kapoor, trying to have your home life into an open to doubt and inherently-undefined character, moves always in the company of a strange-looking female consort who can in a relaxed manner pass off as a tinkle performer in Broadway pleasing based on ETs.
Would it be a spoiler to reproduce that Ms ET in the end walks out cold with our allure Leaden Mr Salman Khan disappearance her best friend spellbound in a crumbling haveli like a newly-reincarnated imitation of Sharmila Tagore in Gulzar's Namkeen Later than Sharmila Kareena will in the end be rescued from her ethnic dereliction by the he-man hero and some intervention from precocious bespectacled very small boy who turns out to be Bodyguard's over-smart beta. But preceding that put on are at large villains (Mahesh Manjrekar, Aditya Pancholi, Chetan Hansraj) putting up a intrepid swordfight. Sorry to say, the action tragedy crumbles under the enormity of a formulaic and corny assessment.
How, each time, why? Don't ask! Just go with the flow of volcanic bunkum that begins with Kareena being "bodyguarded" by Salman in her college and ends with Salman falling in love with a involvement on a song that speaks to him in Karisma Kapoor's involvement.
Interestingly each time Kareena masquerades as a well-hidden caller on the song she speaks in her star-sister Karisma's involvement. Appealing and cocky touch, that. Just like Salman's performance. He is emotionless and moneyed parallel with the ground each time bowing regretfully to his employer, Raj Babbar who looks like a Zamindar who abandoned the assessment.
The shell has totally burn to keep us from thinking that the dissimilarity was wide-ranging with any top-drawer of cultural astutesness. The sentiments protect unwisely confined. The dialogues border on the children. The music (by Himesh Reshammiya) is an over-digitalized blemish.
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