Many moments in the first-half between the deaf hero (Oberoi) and the blind hero (Khan) have a warmth of shared camaraderie especially when they share their girlfriend woes or try to see the lighter side of their handicaps.
But then you've seen Ralph Fiennes play a blind man in "The White Countess" at the same time as Fardeen's blind act. And you wonder how long we must continue to bear the atmosphere of mediocrity that prevails in a particular style of mainstream Hindi cinema. However, keep in mind that this is Bollywood and not a Hollywood flick.
To his credit, Indra Kumar tries to be stylish in the songs. The songs are good. Especially, "Rabba de de Jawani" The dialogues are occasionally crisp. Most of the deaf hero's mis-read lip movements are funny. The actors did their bit to enhance the mood of satire.
The noisy 'cool' song sequences have been done to a cliché. Except the fact that the film makes a pitch for the handicapped to have a normal even fun-filled life, "Pyare Mohan" has nothing to offer that would qualify as novel or engaging. How many movies will make such a statement.
The second half is completely botched with the near mid-air crash experience of passengers reaching a nadir of mediocrity in film-making.
Indra Kumar goes for a toned-down funny beginning that finally ends with the characters running helter-skelter in Bangkok - a beautiful city, here reduced to looking like the crowded traffic-choked highways of Mumbai.
The search for the two lady loves (Esha Deol and Amrita Rao) in the hustle bustle of Bangkok is done in a revved-up hysterical slapstick style that Indra Kumar patented decades ago.
The climax with villain Boman Irani hurling empty bottles at the two heroines is straight out of a Chinese Kung Fu movie.
A queer mix of the mirthful and the monstrous, "Pyare Mohan" has many moments that keep us smiling and laughing.
