Laughter is the best medicine. And that's exactly what Neha Arts' NAYEE PADOSAN offers in ample doses. Set in Mumbai, this feel-good entertainer has enough funny moments to give your cheekbones adequate exercise for the day.

The story revolves around the protagonist or the 'Nayee Padosan' [Mahek Chahal], who has shifted to a new locality. Her simplicity, righteousness and no-nonsense attitude are qualities any man would want his life partner to possess.

Three boys - Raju [Anuj Sawhney], Raja [Aslam Khan] and Ram [Vikas Kalantri] - from different backgrounds, characteristics and modus operandi are swept head over heals in love with the girl.

What follows next is a laugh riot, in the way the three eligible bachelors try and get themselves acquainted and eventually outwit one another to get the girl.

The film takes a sudden turn when a new entry - Prabhu [Rahul Bhat] - that happens to be a favourite of both the girl and her family shatters the hopes of the three eligible bachelors. Nothing seems to stop the inevitable. The battle seems lost for the three hapless boys.

The film goes through various emotional graphs where the three boys have their individual shares of gains and losses vis-a-vis their competitors. The girl doesn't reveal her feelings until a certain change of events makes her realise whom she really loves and would want to spend the rest of her life with.

Inspired by the yesteryear hit PADOSAN, NAYEE PADOSAN scores high points in the treatment department. It moves at a brisk pace throughout and succeds in keeping one engrossed, giving the viewer no time to blink an eyelid. Also, there are enough surprises, which spring up at the right time, adding flavour to the proceedings.

Director B.H. Tharun Kumar's storytelling, aided by Ikram Akhtar's deft screenplay, make the film an enjoyable fare. The writer has packaged enough hilarious moments to tickle the viewer's funny bone.

The different path the three men choose and how the fourth character suddenly enters the scene has been handled cleverly, giving an altogether new dimension to the film. The writing and execution of these portions is what takes the graph of the film upwards.

But the film is not without its share of flaws, the major one being the climax. The screenplay loses its grip in the climax and ends on a clich?ed note. Moreover, despite the title being NAYEE PADOSAN, the leading lady [enacting the title role] is sidelined subsequently, while the four boys get more prominence.

Besides, the film tends to get very citycentric. Since the dialogues and setting have the typical Mumbai flavour, this aspect may restrict its business prospects in some states.

NAYEE PADOSAN is choreographer B.H. Tharun Kumar's maiden directorial attempt and it must be said that he knows the grammar of film-making right. There're no continuity jerks or technical flaws. But more than anything else, he deserves kudos for extracting fine performances from the main cast [starring newcomers mainly].

Shankar-Ehsaan-Loy's music is strictly passable. Though the songs do sound pleasant, how one wishes the film was embellished with a hit score to compliment the racy going-ons. Dialogues stand out in this comic venture, combining well with the screenplay. Cinematography is striking.

Anuj Sahwhney oozes confidence as a performer and has good screen presence as well. He has all the potential to carve a niche for himself if he chooses the right kind of roles in future. Rahul Bhat is a complete natural, essaying a difficult role with elan. His character moves the story forward and provides the necessary surprise elements in the film.

Aslam Khan enacts his part with sincerity, coming across as a fine performer. Vikas Kalantri is alright, although he needs to brush up on his dialogue delivery. Mahek is photogenic, but doesn't really get ample scope to display histrionics. Yet, despite the shortcoming, she does make her presence felt. Vijay Kashyap is first-rate.

On the whole, NAYEE PADOSAN boasts of some rib-tickling comedy, which is also its USP. The light moments, coupled with witty dialogues, should attract the attention of the youth - its target audience. At the box-office, it should prove to be a safe proposition for its investors.