Sara Loren in Fraud Saiyaan Hindi film , is a Pakistani model and actress who has acted in films in Urdu and Hindi. Her grandfather owned Rajput in Rajasthan, India. He made his Bollywood debut and earned the label for the product’ Bhatt Camp’. She is beautiful and known for her bold image. With this content, all fans of the actress will know more about Sara Loren’s biography, age, measurements, birthdays, businesses, quotes and movies.
Saiyaan’s fraud focuses on this man who operates under the premise that the quickest way to get to a woman’s heart is to ask her to marry him. As the hero of a Hindi film, his theory obviously works. It is so effective that women seem to be waiting at every corner of the street to simply be attached to him.
Bhola’s accomplice in his serial fraud is a certain Murari who seems to be a kind of double agent because, on the one hand, he is the protagonist of his crimes and, on the other, he seems to be preparing for his downfall.
Male infidelity – not female infidelity – has been the subject of Bollywood comedies for decades because you know how it is: men who cheat on their wives and girlfriends are funny, while women who cheat on their husbands are social problems, I suppose. If you don’t mind revisiting an ancestral formula and your tastes go in the direction of a light treatment of the woman, then, at first glance, Fraud Saiyaan is a project full of promise. Arshad Warsi is, after all, one of the best – though unfortunately underestimated – actors in the Indian film industry, and if you enjoyed your collaboration with Saurabh Shukla in Jolly LLB in 2013, then of course your new film together deserves a visit. (Warsi plays Bhola and Shukla is Murari.)
The problem with Fraud Saiyaan is that these two talented artists don’t have much to do. Bhola’s deception is detected by one woman, then by another, then by another, then by another, then by another, then by another, and then… yawn… Who needs sleeping pills? Warsi’s charm is hard to resist and her comic rhythm sometimes lifts lines that don’t deserve it, but there’s a limit to what a talented actor can do with a script that runs empty.
Worse yet, how much misogyny can we expect to have to close our eyes in the name of comedy? Of course, I understand that a man who marries a woman at the last minute and drops each woman like a hot brick as soon as he has stolen her money will necessarily be a man who has little respect for women. The fact is that director Sourabh Shrivastava, writers Amal Donwaar and Sharad Tripathi seem to regard these women as trivial objects. And so we are served a set of pretty human females of small sizes and cumbersome breasts that rise up inside small tight sari blouses, their strategically placed pallus, Bhola can grab them and throw them into beds at will, but none of them has a graphic character interesting enough to make them memorable.
The women are so badly written that at one point I began to wonder if Fraud Saiyaan’s actresses had not been chosen by the casting director or the props department.
Sara Loren in Fraud Saiyaan
It doesn’t matter what the hero’s attitude toward women is. The film’s attitude towards women is illustrated by the filming of the remix of ‘Chamma Chamma Chamma Chamma Chamma’, in which Elli Avrram dresses in microscopic clothing and performs a series of coarse dance steps. The problem here is not the choreography or the costume – the problem is that the human being in the costume matters so little to the director that he or she has chosen a graceless and clumsy costume for a graceless and clumsy dancer who seems to have been considered irrelevant beyond his or her willingness to be half-naked in this scene. Avrram’s limitations as a dancer are highlighted when Warsi briefly joins her on stage – her relatively fluid movements show her to the poor dancer she is. In comparison, Rajkumar Santoshi can say that he has delivered a great art through Urmila Matondkar to China Gate, where this song was initially presented.
Fraud Saiyaan’s climax reminds us of another saying on which many Bollywood comedies are based: men who deceive their wives are fun and worthy of redemption, while women who deceive are irrecoverable, despicable and despicable imbeciles. Warsi’s continuing struggles in his career may explain why he agreed to be part of this boring, misogynistic formula bullshit, but the worst thing is that Fraud Saiyaan is a presentation of Prakash Jha Productions, with Disha Prakash Jha as one of its producers. Seriously Jha-saab, why?