Film: “Kerry On Kutton”; Director: Ashok Yadav; Cast: Aradhana Jagota, Aditya Kumar, Deep Raj Rana, Satyajeet Dubey, Karan Mahavar, Shivam Pradhan, Prashant Tiwari, Yashwant Singh; Rating: *1/2
“Kerry On Kutton” has the hangover of the “Carry On”, franchise – the low budget British comedy motion pictures which were made between 1958 and 1992.
Directed by Ashok Yadav, this crazy film is set in a small town named Baliya in Uttar Pradesh. With a meandering, unfocused plot, it tells the tale of four teenagers Kerry (Satyajeet Dubey), Kadambari (Aditya Kumar), Suraj (Karan Mahavar) and Jyoti (Aradhana Jagota), who lead a defiant life.
Kerry, the son of a pig breeder Lal Dhaari (Deep Raj Rana), is keen to lose his virginity and every time he makes an attempt, luck evades him. His best friend is Kadambari, the son of a bandmaster who plays at weddings.
Kadambari dreams of becoming rich by breeding purebred dogs like his idol Rakesh Chacha. But to realise his dreams, he has to steal a puppy from Bade Babu, a shopkeeper in the village.
Suraj, the school master’s son, is in love with Jyoti, who is materialistic. When he fails to provide Jyoti with a touch phone, her affection shifts towards Kerry and how she manipulates the duo forms a major chunk of the narration.
Packed with action and drama, the script written by Himanshu Onkar Tripati and Ashok Yadav starts with a promise of a sleaze film, but rambles on to be a bawdy drama that is entertaining at times. The coarse dialogues are colloquial and the performances are what keeps you hooked
Satyjeet Dubey has a decent screen presence and with his highlighted and unkempt hair slips into Kerry’s boots with ease. Aradhana Jagota is equally competent as the coquettish Jyoti. Her stock statement, “Bhoosa mat kato,” which means don’t make excuses, seems forced and cocky.
They are ably supported by the rest of the cast, which include Shivam Pradhan as Hippy Thakur the guy who supplies guns in school and Yeshwant Singh as Suraj’s father, the school master.
With moderate production values the film is well-mounted. Cinematographer Sushan Prajapati’s camera exploits Anjan Gajurel’s production designs and the location to the fullest.
The songs have the charm of the 90s which in reality are outdated, but goes with the flavour of the narrative.
The climax ends on a high, but the denouement disappointingly concludes on a philosophical note, which is not only abrupt, but also pseudo in nature.
Overall, this film would appeal to only those who are fond of witnessing crass and crude humour.