Bewakoofiyaan

<p>Mohit is promoted from Junior Executive in Marketing to Senior Executive. He goes for lunch with his girlfriend, Myra, after the promotion, where he proposes to her. Meanwhile, Myra’s father, Vinod Kumar “V.K.” Sehgal, a government officer nearing , does not approve of their wedding, believing Mohit would be unable to provide for Myra. V.K. visits Mohit’s office and challenges him: if Mohit can pass his test, he may marry Myra. He begins calling Mohit to the club daily to play . Soon after, V.K. retires. Mohit is from his company. V.K. tries to verify this, but Mohit, Myra, and a friend pretend he is still employed. V.K. shares his concerns, and Mohit suggests he find post-retirement work, which V.K. appreciates. Mohit struggles to find a new job, while V.K. also attempts to return to the workforce. Myra disapproves of her father’s decision. Despite her objections, V.K. enlists Mohit’s secret help in seeking employment. Mohit begins receiving calls from lenders and borrows ₹50,000 from Myra. Later, when he asks for more money to cover rent, a fight ensues. Mohit sells his car, repays Myra, and the two . That same day, V.K. calls both of them to share that he received an interview call and shows them engagement rings. Mohit admits to being unemployed. He vacates his apartment, rents a smaller place, and begins working at a café. Meanwhile, Myra accepts a transfer to . She shows her father a new apartment and their passports. V.K. tracks down Mohit’s whereabouts and visits the café to observe him quietly. He informs Mohit of Myra’s plans to leave for Dubai. Back home, the maid cries, prompting Mohit to visit and call out for Myra. V.K. scolds him, but Mohit accuses him of being overbearing. Myra defends Mohit, revealing he was a national-level squash silver medalist who deliberately lost to V.K. She tells her father that shopping isn’t fun without Mohit because there’s no one to say, “Very hot, khaa jaau tere ko.” V.K. gets ready for his interview, stops by Mohit’s apartment for a tie, and later reappears at the café, now as the company’s new . was officially announced in December 2012 as a romantic comedy set against the backdrop of a recession. The film was written by and directed by , known for her work on (2011). Described as a ” ” narrative, the story follows a young couple navigating love and economic hardship, complicated by the disapproval of the woman’s father. Casting for the film was confirmed in December 2012, with and in lead roles, marking their first on-screen pairing. was cast as the father, playing a pivotal role in the conflict between the couple’s romantic ideals and societal expectations. commenced in February 2013, with shooting locations including , , and . The soundtrack for was composed by , with lyrics written by , except where otherwise noted. This marked Dixit’s second collaboration with director after (2011). A bonus track titled ” ,” performed by , was included in the soundtrack release. was produced on a total budget of ₹220 million (US$2.6 million), which included ₹80 million (US$950,000) spent on promotions. The film was released theatrically on 14 March 2014. In India, the film opened to a tepid response. It earned between ₹20–22.5 million (US$240,000–270,000) on its first day. The opening weekend collection stood at ₹67.5 million (US$800,000), showing limited growth after its debut. noted that this stagnation was a drawback for a -focused . Over the course of its first week, the film collected a total of ₹128 million (US$1.5 million), failing to recover its production costs. Overseas, had a modest theatrical run. According to , it earned US$46,888 from 51 screens in the United States and US$20,850 from 15 screens in Canada. In the United Kingdom and Ireland, it collected £33,620 from 26 screens. In Australia, it grossed A$22,145 from 14 screens, while in New Zealand, it earned NZ$12,558 from a single screen. received mixed reviews from critics, with praise for the performances but criticism directed at the screenplay and narrative depth. of called the film a “pleasant surprise” and commended the “super performances” by the lead cast, along with its “watertight writing, skilled direction, and dollops of humor.” of noted the film “scores with its disarming simplicity” and described it as “never less than watchable.” Tushar Joshi of felt the film played “too safe to rise above the ordinary” and missed an opportunity to be “smarter and funnier.” Madhureeta Mukherjee of acknowledged the film’s charm but found it hampered by a “helpless script.” of remarked that while directs with an easy hand, she is “saddled with a dead duck of a script that simply can’t be saved.” of described the film as “bland” and “listless,” but appreciated ’s performance, stating that his “anger and frustration at losing the good life are palpable.” She found ‘s performance earnest but felt the role lacked depth. Rahul Desai of called it a “middling film” with a predictable screenplay and concluded that although it wasn’t Asthana’s best work, it showed potential with the right script. Danny Bowes of found the film to be “perfectly acceptable middle-of-the-road romantic comedy material” that should satisfy genre enthusiasts. Andy Webster of acknowledged the film’s attempt to explore themes of recession and financial strain but felt that “strained, contrived humour bogs it down,” though its focus on money’s impact on relationships gave it “some dramatic traction.”</p>