In the whimsical world of Bollywood, where the lines between dreams and reality often blur, a young girl’s desire to dance becomes the focal point of an emotional tug-of-war between familial love and personal ambition.
Be Happy, directed by Remo D’Souza, sets out to tug at heartstrings with its simplistic yet compelling narrative, but unfortunately, it struggles to balance its heavy reliance on cliches with its aspirations to offer something new.
The film, while not devoid of charm, ultimately falters under the weight of its ambitions, unable to deliver the emotional depth or impactful moments it clearly aims for.
At the heart of Be Happy is Dhara (Inayat Verma), a bright-eyed, lively schoolgirl from Ooty who dreams of making it big as a dancer. A precocious child, Dhara is both endearing and frustrating, as she displays wisdom far beyond her years but with an intensity that sometimes feels forced.
Her world revolves around dancing, and she idolises Maggie (Nora Fatehi), a renowned dancer and choreographer. When Maggie encourages her to move to Mumbai to train at her academy, Dhara sees this as a golden opportunity to fulfill her dreams.
However, there’s one major roadblock: her father, Shiv (Abhishek Bachchan), a widower, is resolutely against leaving Ooty. Still reeling from the loss of his wife, Shiv is adamant about staying in the place where his memories linger, a decision that puts him at odds with Dhara’s dreams.
What follows is a familiar but emotionally potent father-daughter story, one that attempts to explore themes of sacrifice, love, and personal growth.
Abhishek Bachchan, as the grieving father, brings a sense of quiet vulnerability to his role. His performance is a highlight, with the actor successfully portraying a father whose stoic exterior masks a deep well of unaddressed emotions.
Bachchan’s understated portrayal of Shiv’s internal struggle as he grapples with letting go of the past for the sake of his daughter’s future is one of the film’s more poignant moments.
Inayat Verma, as Dhara, matches him step for step, giving a performance that is both spirited and heartfelt. Her chemistry with Bachchan anchors the film, making their father-daughter relationship feel genuine and relatable, despite the heavy-handed dialogue that occasionally threatens to undo their emotional connection.
The plot, however, stumbles as it attempts to introduce complexity. Once Dhara convinces Shiv to move to Mumbai, she quickly secures a spot in Maggie’s dance academy, and the film takes on the structure of a reality-show competition, complete with the melodrama, manufactured obstacles, and over-the-top performances that are par for the course in such narratives.
The film tries to introduce a health crisis to add an extra layer of conflict, but this twist feels more contrived than compelling. Instead of using this moment to deepen the emotional stakes, the film falls into a predictable rhythm of tears and triumphs, ultimately reducing its characters to pawns in a larger narrative about achieving success at any cost.
Nora Fatehi, who plays the dance instructor Maggie, struggles to make her mark as an actress. While she undoubtedly shines in the dance sequences, her acting leaves much to be desired, with her portrayal feeling mechanical and one-dimensional.
The supporting cast, including Nassar as the lovable grandfather and Harleen Sethi in a brief but significant role as Dhara’s late mother, is underutilised, relegated to cliched roles that do little to enhance the narrative. Johnny Lever’s attempt at comic relief is especially jarring, his broad humor completely out of place in a film that is otherwise focused on sentimentality and drama.
While Be Happy succeeds in creating a visually appealing atmosphere, thanks in part to its dance sequences and vibrant settings, the emotional core of the film feels flat.
The film’s reliance on melodrama and a predictable formula detracts from its potential to offer a fresh perspective on the father-daughter dynamic or the pursuit of dreams.
At its best, the film delivers moments of genuine tenderness, particularly between Bachchan and Verma, but these moments are often overshadowed by the film’s tendency to veer into saccharine territory.
Ultimately, Be Happy is a film that feels more concerned with its commercial viability than with exploring the depths of its characters. While it may leave some viewers with a smile by the end, it does so less because of its emotional payoff and more because it has simply run its course.
The film’s predictability, combined with its uneven performances and shallow exploration of its themes, renders it a forgettable addition to the genre. Despite the best efforts of its cast, Be Happy misses the mark by miles.
