Vishwak Sen takes on a unique challenge by donning a female get-up for the first time in Laila. The film is directed by music composer-turned-filmmaker Ram Narayan. Produced by Sahu Garapati, who recently scored a hit with Bhagavanth Kesari, Laila generated significant buzz following the release of its teaser. But does the film live up to expectations? Let’s find out.
Story: Sonu (Vishwak Sen) runs Sita Beauty Parlour, a cherished gift from his late mother, and becomes a favorite among the women of Old City. The local husbands, however, see him as a threat and struggle to keep their wives away from him. Things take a drastic turn when Sonu is framed in an oil adulteration case. With the police and the people of Old City hunting him down, Sonu disguises himself as Laila to escape the allegations and uncover the truth. What challenges does Laila face while dressed as a woman? Who set Sonu up? How does the story conclude? The answers lie in Laila.
Performances: Vishwak Sen, who showcased his acting potential in films like HIT and Gangs of Godavari, seems to have lost his spark in recent outings. His energy appears diminished, and his performances in dance and fight sequences feel lackluster. Though he puts in the effort to look as convincing as Laila, his transformation does not fully sell the illusion, he neither embodies femininity convincingly nor delivers an engaging performance.
Akanksha Sharma, the film’s leading lady, has little scope to perform and is used more for glamour than substance. Meanwhile, actors like Abhimanyu Singh, Babloo Prithviraj, and Kamakshi try their best, but their underdeveloped characters fail to leave an impact.
Technical Aspects: On the technical front, Leon James’s music and Richard Prasad’s cinematography are decent. However, James excessively uses tracks from Gangubai Kathiawadi, raising questions about originality. One also wonders what convinced producer Sahu Garapati to invest heavily in this project.
Analysis: Director Ram Narayan’s storytelling is riddled with flaws. In an era where even global brands like Fair & Lovely rebranded to Glow & Lovely in 2020 to remove racial undertones, his portrayal of a dark-skinned woman as a negative stereotype feels outdated and problematic.
The film also relies heavily on double-meaning dialogues, making it difficult to engage with the narrative. His lack of grip on the story ultimately leads to a weak execution. Also, a strong reason is essential for a hero to disguise himself as a woman.
In Madam, Rajendra Prasad did it to fulfill his dying grandmother’s wish, while Naresh in Chitram Bhalare Vichitram used it to secure a rental house. Unfortunately, Laila lacks a compelling justification for this transformation, making its core premise ineffective.
The portrayal of Kamakshi’s character is also mishandled, and the film struggles to establish Vishwak Sen’s character arc. Despite censor board cuts, excessive double-meaning dialogues and vulgar sequences prevent Laila from even being classified as a passable film.
Verdict: Vishwak Sen, who takes pride in his Mass Ka Das persona, should focus more on selecting meaningful scripts rather than merely experimenting with different roles. It’s good for an actor to explore various genres, but that should not come at the cost of audience engagement like this film which will fade out from theaters in just a few days.
Bottom Line: Silly, over the top, and cringe
Rating: 1/5
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