Director: Remo D’Souza  

Cast: Abhishek Bachchan, Inayat Verma, Nora Fatehi, Nassar, Harleen Sethi, Johnny Lever  

Writers: Remo D'Souza, Tushar Hiranandani, Kanishka Deo, Chirag Garg  

Duration: 130 minutes  

Rating: 1  

Be Happy serves as a glaring example of how not to produce a film. Remo D'Souza, known for his previous dance-centric productions (let us conveniently overlook ABCD), has delivered a project that is so fundamentally flawed that one might suspect it was created as a challenge. If the intention was to craft a film that is cringe-inducing and poorly executed, then congratulations are in order, Remo! You have achieved a standing ovation for all the wrong reasons, as I had predicted prior to the film's release.

To begin with, the plot—oh dear, the plot. Be Happy centers on Dhara (Inayat Verma), a schoolgirl from Ooty who aspires to chase her dance dreams in Mumbai, but her father Shiv (Abhishek Bachchan) is skeptical. This premise could have unfolded into a touching narrative about pursuing one's dreams and familial relationships, but alas, it devolves into a reality-show-inspired disaster that prioritizes random dance sequences over a coherent and emotionally engaging storyline. Frankly, I have encountered more substance in a TikTok dance challenge.

Now, let us address Remo D’Souza, the so-called “director” and co-writer. He has managed to infuse the term "mediocre" into choreography and "cringe" into storytelling. Is Be Happy a dance film or a drama? It is difficult to discern, as every time an emotional scene arises, Remo feels compelled to interject with a dance number, reminiscent of an overly enthusiastic child. It seems as though someone suggested, “Let’s create a film about aspirations and dance,” and Remo replied, “Why focus on emotions when we can include more dance?” Here’s a reality check: merely inserting a few awkward dance routines does not equate to an Oscar-worthy film. It is not a magic trick, Remo.

Inayat Verma, portraying the young dancer Dhara, undoubtedly puts forth her utmost effort, and frankly, she is the standout performer. Her heartfelt dancing ensures that her scenes are engaging rather than exasperating. However, the same cannot be said for the rest of the cast. Abhishek Bachchan, to his credit, emerges relatively unscathed. His performance remains consistently strong, and his portrayal of a father’s emotional depth is genuinely moving. Unfortunately, Remo’s flawed screenplay does him no favors, reducing his character to a mere background figure during the dance sequences.

Regarding Nora Fatehi, while she possesses dance skills, her acting leaves much to be desired. One must question Remo’s decision in casting her for this role. Observing her attempts at acting is akin to watching someone struggle with a Rubik’s Cube by forcefully slamming it down. Veteran actor Nassar is relegated to the clichéd role of the "wise grandfather," contributing nothing innovative or engaging. As for Johnny Lever, it is perplexing why Remo thought it wise to cast him in a slapstick comedy role. Was this intended to be humorous? The only aspect that elicited laughter was the utter failure of this subplot.

If the film aimed to merge dance with drama, it misses the target so significantly that it seems to have aimed elsewhere entirely. The movie resembles a poorly executed pancake—overloaded with conflicting elements that fail to harmonize. Dance alone cannot sustain a film, and here it feels akin to a reality show where participants are instructed to "just dance and disregard the plot."

In summary, Be Happy is a cinematic failure, with each frame serving as a reminder that effective direction involves more than merely incorporating flashy dance sequences and hoping for a positive outcome. It is my belief that Remo D’Souza should return to the fundamentals of storytelling before attempting to create another dance film. As for Be Happy, it is certainly one film to avoid.

If you find yourself in need of a cathartic experience or a reason to express your anger, I recommend watching this film. However, I must caution you: proceed with awareness of the emotional impact it may have.
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