Ek Paheli Leela review: It’s only about Sunny Leone, sex and seduction

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Film: Ek Paheli Leela

Cast: Sunny Leone, Jay Bhanushali, Rajneesh Duggal, Mohit Ahlawat, Rahul Dev, Jas Arora
Director: Bobby Khan
Rating: 1/5

After the success of Ragini MMS 2 and a string of item numbers that focused on nothing but her curvaceous body, it’s no wonder that Sunny Leone’s the newest go-to-girl for producers who couldn’t care any less for the A certificate to their films. Her latest, director Bobby Khan’s Ek Paheli Leela, is another in that list: It’s an unapologetic attempt at riding (even cashing in) on Sunny’s oomph quotient.

There are spoilers ahead, so scroll down at your own risk.

The film opens with two princes — Bikram Singh (Jas Arora) and Ranveer Singh (Mohit Ahlawat) — fighting for a haunted piece of land because somewhere hidden in it is a 300-year-old sculpture of a lady by celebrated sculptor Bhairon (Rahul Dev). To add to the drama, the two princes are completely different from each other: Bikram is a criminal, and can kill without any qualms, whereas Ranveer believes in virtues like love and kindness.

The second part of the story shifts to London where a famous model Meera (Sunny Leone) — she’s come from Milan and never travels by air — walks the ramp for an Indian designer. The show is successful, but not so much for the beautiful Meera: Her drink is spiked, and when she falls unconscious (of course, not before she’s done the mandatory song-and-dance sequence), she’s packed off on a flight to India. She lands, we are told in Jodhpur, and goes straight into Ranveer’s life, who’s completely besotted by her.

There’s even a third string to the film. This time, a small-time musician Karan (Jay Bhanushali) is dealing with a life-threatening problem: He’s just shifted to a new house, but his life is turned upside down because of a recurring nightmare. On a priest’s suggestion, he finds himself in Rajasthan, and here his life just turns worse.

Didn’t we say Ek Paheli Leela’s story is multi-layered? It is quite literally. In fact, it has so many layers that even director Bobby Khan, it seems, lost track of the multiple things he was handling. But what he never loses track of is his leading lady: Sunny’s there in practically every frame of the film, mouthing cheesy lines, and always flaunting her seductive dance moves. Right from the first song, Desi Look, where the camera constantly zooms to her curves, to the clueless climax, she makes her presence felt by copying Urmila (Rangeela) to Aishwarya (Hum Dil De Chuke Sanam). 

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She is, without doubt, the biggest bait for Bobby Khan: Keep her on screen if you don’t want the audience to leave the hall.

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