(Had he followed his heart, like Meeta, he’d have become a police officer.) He has the fears of a grown-up. And now, he’s become a dull man, the kind of person who wants to conclude a business deal not because he has a passion for it but because he can tick another item off his to-do list and go on and get married. He meets Meeta in his teens, and she asks him to jump into an auto-rickshaw and come with her to Goa – he’s tempted for an instant but his rational self asserts itself and he declines.
Very early in the film, we get a couple of sequences that establish what adventurous out-of-the-box thinkers Meeta and Nikhil are as children, but while Meeta has held on to this spirit, Nikhil has lost it along the way. Nikhil, on the other hand, is a grown-up – at least he’s trying to be one, doing things that he thinks are the right things to do. She even has a peeing-in-the-pants moment.
She’s slapped constantly, like a naughty child, and her annoyingly squeaky shoes are the kind you’d see on children. When she wants a guy – Nikhil, who’s engaged to her sister Karishma (Adah Sharma) – she coolly asks him to marry her and leave Karishma. She just goes ahead and does whatever she wants, without worrying about consequences. “ B ade hokar life ko complicate karte hain,” she tells Nikhil (Sidharth Malhotra), when she finds him wringing his hands over a situation – and we see that these aren’t hollow words but her life’s philosophy. These traits are on display throughout Vinil Mathew’s Hasee Toh Phasee, but a little before interval point, we realise that – savant or not – Meeta is essentially a child. When she’s not popping a cocktail of pills, she’s scarfing down toothpaste and sugar. She tucks in her lower lip and sticks her tongue out. She’s clearly some sort of genius, but she looks a little unhinged. When we meet Meeta (Parineeti Chopra), she seems to be auditioning for the part of an autistic savant.
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