Chori Chori Chupke Chupke Salman Khan, Preity Zinta, Rani Mukherjee Suterhit Romantic Movie

 Chori Chori Chupke Chupke Salman Khan, Preity Zinta, Rani Mukherjee Suterhit Romantic Movie

Theft is the story of a couple who wants a child and hires a surrogate woman. How the two women agree with each other is central to the theme of the movie. Raj (Salman Khan) is the grandson of a successful businessman, Kailashnath (American Puri). Kailashnath's only wish is to be a grandson of the king. Raj marries Priya (Rani Mukherjee), but unfortunately she meets an accident and harms her child.

Naturally, if the batsman hits a century in the first innings, the viewer expects an encore as well as an interval in the second innings, but the pace is reduced in the second half. Also, you tend to be long and complicated to see the same "god damn", "mehndi" and stuff, most of which have no land. Fortunately, the second half contains portions of brilliantly edited and sentimental sequences that keep the film from sinking. As such, for example, one of the best sequences of the enterprise is when the scene of the platform is Pretty and Queen is a tiff

The physician informs them that she can no longer have children. They conceal this secret and give Madhubala (Preeta Jinta) a child for the king for some financial benefit. Raj fell in love with Madhubala when they left for Switzerland to perform their work. The family is shocked to find out that Priya is pregnant. They returned to India to join them and what happened next is the rest of the story. Music is a mixed bag - not great, not bad. Among the tracks, 'Dechen' and 'Diwana' are different for their honey-coated tunes, but the balance tracks range from pretty good to hard to average. Cinematography is first rate. Salman Khan. The name says it all. It goes without saying that the actor above his shoulders and towers above all else, he respects the character and walks away with respect.

I understand that complaining about the incompleteness of the Bollywood plot is excluded. Instead, I just have to admit to enjoying the pleasures of the film - the clear onscreen chemistry of all the principles and especially the great acting of Preet and Rani. There is a fierce conflict between the two in the final part of the film, where Honey decides to keep the baby and eventually Santu Priya falls into a very rage. If the film's conclusion once again confirms that in Bollywood, motherhood is a condition that solves all sin, this is exactly what you pay for admission. And under the guise of redefining traditional values, the movie advocates for some fairly basic proposals: that one's identity is more a matter of life situation than an inefficient fate; That the loss of a woman's ability to bear her child is extremely detrimental; And that love - like generosity and self-sacrifice - does not consider the boundaries of race or class. As in many Bollywood films, you just have to take crunchy with smooth.

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