logo
Hera Pheri: Exploring the iconic dialogues of the Akshay Kumar, Paresh Rawal and Suneil Shetty comedy franchise

Hera Pheri: Exploring the iconic dialogues of the Akshay Kumar, Paresh Rawal and Suneil Shetty comedy franchise

Time of India28-05-2025

The 'Hera Pheri' franchise isn't just a comedy series — it's a cultural phenomenon. The original film, released in 2000, and its sequel, 'Phir Hera Pheri,' in 2006, carved a legendary space in Bollywood with unforgettable characters and timeless humour.
Though currently, 'Hera Pheri 3' is making headlines for the controversy surrounding Paresh Rawal's exit, fans are revisiting the franchise's most iconic moments and legendary dialogues.
Here are some of the Famous dialogue everybody remembers to this date:
'Utha le re deva, utha le... mereko nahi re, in dono ko utha le!'
Speaker: Baburao (Paresh Rawal)
One of the most ageless lines from 'Hera Pheri,' this moment captures Baburao's hysterical frustration with his housemates.
As Raju and Shyam argue constantly, Babu Bhaiya pleads with God to take them away, not him! The timing, expression, and delivery still have audiences in stitches every time.
'25 din mein paisa double!'
Speaker: Raju (Akshay Kumar)
This line from Phir Hera Pheri really took off and became a well-known meme. Raju delivers it with such confidence when he hears about a scheme that claims to double your money in just 25 days. He's all in on it, while Babu Bhaiya is left feeling confused and anxious.
The humour in the scene comes from how seriously Raju takes it, even though the whole plan sounds way too good to be true.
'Yeh Babu Rao ka style hai!'
Speaker: Baburao (Paresh Rawal)
This line became Baburao's trademark catchphrase. Whether he's trying to fix a phone or navigating a crisis with absolutely no logic, Babu Bhaiya takes pride in saying it's all part of his 'style.' The way he delivers it — with his glasses askew and a charming lisp — has made it truly iconic.
'Mujhe ghar jaana hai!'
Speaker: Raju (Akshay Kumar)
Babu Bhaiya's reaction: 'Toh jaa na, kisne roka hai!'
In this scene, Raju is in a total panic, repeatedly shouting this line as chaos unfolds around him. Babu Bhaiya's innocent yet slightly annoyed reply is pure comedic gold. Their back-and-forth showcases not only their impeccable comedic timing but also the genuine friendship they share.
'Control Uday, control!'
Speaker: Baburao (Paresh Rawal)
Baburao says this line while trying to calm down a gangster during a tense phone call, but ends up mispronouncing everything.
His innocent tone and funny way of speaking make the scene hilarious.
'Khopdi tod saale ka!'
Speaker: Raju (Akshay Kumar)
Used multiple times by Raju when things go out of hand, this line is as street-smart as it is hilarious. His quick temper and short fuse contrast beautifully with Baburao's cluelessness, creating peak comedy. The wit and charm of the characters continue to resonate, reminding us that laughter truly knows no bounds.
"Abe tu kya leke aaya tha, aur kya leke jaayega?'
Speaker: Baburao (Paresh Rawal)
Babu Bhaiya's philosophical outburst during a petty argument is both deep and ridiculous. The way he delivers it — with his classic mispronunciation — makes it unforgettable. Tell us these lines are not taking you down memory lane!
"Arre baba, tention nahi leneka!'
Speaker: Baburao (Paresh Rawal)
Babu Bhaiya has this funny habit of saying that when everything seems to be spiralling out of control, as if just saying it will somehow make everything better! His ability to stay calm and offer advice, even in the craziest of situations, is what makes this line so hilarious and unforgettable. Hera Pheri's charm lies not just in its humour but in the endearing dynamics between its characters that continue to resonate with audiences, making it a timeless classic.
Check out our list of the
latest Hindi
,
English
,
Tamil
,
Telugu
,
Malayalam
, and
Kannada movies
. Don't miss our picks for the
best Hindi movies
,
best Tamil movies,
and
best Telugu films
.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

15 years on, Vedam remains Telugu cinema's unmatched masterpiece
15 years on, Vedam remains Telugu cinema's unmatched masterpiece

India Today

time2 days ago

  • India Today

15 years on, Vedam remains Telugu cinema's unmatched masterpiece

When Telugu film 'Vedam' released in 2010, Allu Arjun said something that stayed with many. Speaking at the film's audio launch, he said, 'People from neighbouring industries always say Telugu movies are always commercial films, but there is no value in those films. This line used to prick me. 'Vedam' is a reply to all of them.' And it truly was. It truly is. Even 15 years a time when Telugu cinema was comfortably riding on formulaic commercial entertainers, 'Vedam' was a sharp detour, an experiment that did not just work, but moved. Fifteen years later, the film remains a hauntingly powerful reminder of the kind of stories we once dared to tell. Stories grounded in pain, dreams, contradictions, and, most importantly, the film was released, I went to the auditorium to watch Allu Arjun but came out with a proud feeling that 'Vedam' is a Telugu film. In 2025, as the film completes 15 years, it remains fresh, unique, and most importantly, remarkably difficult to attempt today. What makes this film so special? advertisement FIVE STORIES, ONE SOUL The brilliance of 'Vedam' lies not in one story, but in five. Five lives, each vastly different in class, faith, morality, and ambition, bound together by fate in a single location on New Year's Eve. The hospital becomes both a battleground and a womb where some lives end, and others are Raju (Allu Arjun) is a lower-middle-class cable operator from Jubilee Hills slum with big dreams. To impress his rich girlfriend, despite being educated, he resorts to illegal activities such as chain-snatching, cheating and deception. While his acts are morally wrong, the writing treats him with empathy, revealing layers of desperation and identity Chakravarthy (Manchu Manoj), born into a disciplined military family, defies his mother's hopes of him joining the army to pursue his passion for music. Yet, in a twist of fate, his true heroism emerges not on the stage, but through his act of sacrifice in the (Anushka Shetty), a prostitute, seeks freedom, not from the profession, but from the oppressive control of her madam, Rathamma. Her journey challenges what true agency, freedom and dignity Qureshi (Manoj Bajpayee), a Muslim man from the Old City, is shaped by the trauma of communal violence. To him, India sees every Muslim as a terrorist, a perception that the film deconstructs with grace and (Late Nagayya), a debt-ridden weaver, and his daughter-in-law Padma (Saranya Ponvannan) are willing to sell kidneys to free their child Seenu from bonded labour. Their story lays bare the cost of poverty and the value of vastly different lives, each character seeks one thing: freedom. Freedom from poverty, prejudice, fear, past, or control. And this longing makes 'Vedam' more than a film; it becomes a human cry. THE FIFTH VEDA AND OTHER THEMESThe film's title, 'Vedam' (Fifth Vedam), alludes to knowledge not from scriptures, but from lived experience. Krish uses the metaphor of time, particularly December 31 in the story, to mark transitions. For each character, this night is supposed to be a turning point:Raju thinks impressing a girl at a party will elevate his life. Vivek sees the concert as a career-defining break. Saroja plans her escape to start her own business. Ramulu believes their sacrifice will finally give Seenu an education. Rahim wants to leave India for peace, tired of being profiled. But life has different plans. These hopes collide with chaos in the film's climax, a terrorist attack at the hospital, turning the New Year into a reckoning rather than a new doesn't just interlink five stories. It interweaves philosophy and society. It takes on communal prejudice through Rahim's arc; commercial sex work and dignity through Saroja; poverty and education through Ramulu's desperation; youth, rebellion, and responsibility through Vivek; and aspiration versus integrity through Cable brilliant is how realisations come not just through internal introspection, but via key secondary characters: Vivek's mother, Dappu Subani (Raju's friend), the police officer in Rahim's arc. These are not just side roles; they are moral fact, the film's final setting, a hospital - a place where life begins and ends, a place same for everyone, is another elegant metaphor tying all ELEMENTAL STORYTELLINGEach character in 'Vedam' symbolically aligns with one of the five elements, enriching the film's layered storytelling. Vivek, with music as his medium, represents air, unpredictable and free-spirited. Raju, a cable operator with lofty ambitions, is associated with the sky. Many of his scenes frame the open sky, mirroring his dreams. Rahim's anger and the communal prejudice he faces embody fire, symbolising volatility. Saroja, caught between fluidity and entrapment, reflects water, seeking her flow and freedom. Ramulu, grounded in suffering and bound to the harsh realities of poverty, represents the director further weaves these elemental themes metaphorically through their interactions: when Raju and Vivek leap from a building to confront terrorists, it symbolises the merging of air and sky, while Raju's attempt to steal Ramulu's money reflects the union of sky and earth. These subtle yet powerful undertones add depth and complexity to the film's narrative IN SERVICE OF STORYIt is not often that stars surrender their image for the story. Allu Arjun, at the height of his stardom post-'Arya 2', took no remuneration. Anushka, after Arundhati, chose the bold and vulnerable Saroja. Manchu Manoj delivered one of his best performances. The screen time and emotional weight are dictated not by star hierarchy but by narrative necessity, a rarity in Telugu Allu Arjun said at the film's audio launch: 'People asked me why I did 'Vedam' after big films like 'Arya 2', 'Varudu', 'Badrinath'. They said it is stepping down as a star. But as an actor, I believe 'Vedam' is a film that lifts Telugu cinema a step higher.'advertisementMUSIC AND DIALIGUE: SOUL OF THE FILMMM Keeravani's music is not merely inserted; it is seamlessly integrated. Songs like 'Rupai', 'Ye Chikati', and the 'Vedam' title track reinforce the film's themes. The line from the song 'Rupai', 'Poyi oopiri nilavalanna, poratam lo gelavalanna, jeevana chakram thiragalanna, Jannam Nunchi Maranam Daaka Rupai' (Even if the breath that is leaving must be stopped, battles must be won, and the cycle of life must keep turning, from birth to death, it's all about money) showcases the deep philosophical storytelling through its lyrics. The dialogues in the film are equally searing. Cable Raju's line, 'prapancham lo rende castalu ra unnollu, lenollu' (In this world, there are two castes, those who are rich and those who are not) or Saroja telling the police, 'Memu guddalu ippi ammudu potham. Meeru guddalu eskoni ammudu potharu' (We strip ourselves to get sold, but you wear uniforms and get sold) or Ramulu's words, 'Cheppulu kutte todiki cheppulu untaya maa bathukulu kuda ganthe saar' (Will a cobbler have his own slippers? Will a labourer who builds houses have a home of his own? Our lives are no different). These dialogues linger long after the film is over because of their A BENCHMARK YET TO BE REACHED'Vedam' was not a blockbuster, but it became a benchmark. Director SS Rajamouli said during its release, "'Vedam' is a pride of Telugu cinema. When people ask me what's a Telugu film I'm proud of, I say - watch 'Vedam'."The final scene, when Patel, the moneylender, realises Seenu's love for education says, 'Em pattindu ra lekkalu idichey ra badiki pothadu' (What a grasp on numbers, let us leave him, he will go to school). That is cinema at its poetic best.'Vedam' was more than just a film; it was a cinematic experiment, an emotional revelation, and a storytelling milestone. It showcased the true potential of Telugu cinema: layered, deeply rooted, philosophical, and universally resonant. Years on, it still leaves us wondering why more films are not made like 'Vedam'.

Paresh Rawal might be comedy king, but let's discuss when he was villain supreme
Paresh Rawal might be comedy king, but let's discuss when he was villain supreme

India Today

time3 days ago

  • India Today

Paresh Rawal might be comedy king, but let's discuss when he was villain supreme

Call him a comedy king, a versatile actor, a revelation in Hindi cinema or a fantastic theatre artiste, but Paresh Rawal is more than any label that defines his career or calibre. For a generation, though, he remained a brilliant artiste who brought alive several comedy roles - including the much-hyped, and discussed these days - Baburao Ganpatrao Apte from 'Hera Pheri'. Even though nothing made him more popular and celebrated than his comedy roles - you name a funny Hindi film, and you'll find him there - a fair portion of resume is also dedicated to negative the 1980s and early 1990s, Bollywood featured an array of over-the-top villains - men with loud voices, flashy clothes, and dramatic dialogue. But, Rawal stood out because he played the part as subtly as possible - never screaming at the top of his voice, and always maintaining an intensity in his role. His brand of villainy was subdued, psychological, and, at times, frighteningly real. He didn't just act evil, he brought the evil alive - making the characters look like they actually existed. Again, a huge nod to his acting prowess. His roles in films like 'King Uncle' (1993), 'Sir' (1993), 'Kabzaa' (1988), and 'Baazi' (1995) stand as a testimony to the 'King Uncle', for instance. It was a family film with moral lessons and emotional moments. But, hidden in its sweet story was Tikku – a cruel and greedy orphanage caretaker, played by Rawal. The actor didn't act like the usual loud and over-the-top villain. There was no comedy or any change of heart. Just pure, realistic evil. His character showed us that villains don't always look scary. Sometimes, they wear regular clothes and hold power in everyday places. Tikku was scary because he felt too eerie, too strange and, at the same, every inch possible. Rawal made discomfort feel close to Then came 'Sir' in the same year, where Rawal played Veljibhai Patel, a gangster. He was not the typical kind of gangster we usually see in Hindi cinema. Veljibhai was stuck between a gang war and his daughter's wish to live her own life. No, Veljibhai was an immensely layered character. He exuded both violence and genius skills at acting made Veljibhai feel deep and real, almost like he's speaking to you - sitting right next to you, or sometimes, even by looking into your eyes. As Velji, Rawal did what most actors can't - manage to not make it look artificial or boring. He offered more vulnerability, and also remained careful of not making you feel sorry for him. You understand where Velji came from. You know him better at the end of the film, because Rawal brilliantly emoted the sensitivity and sensibility of the character - a rare trait to spot in negative roles back go back a few years and discuss another Veljibhai of Bollywood. In 'Kabzaa' (1988), one of Rawal's early films as a villain, he played Veljibhai Soda, a ruthless land-grabber. Now, this was a formulaic villain. How Rawal played it made all the difference. Veljibhai represented the corrupt system - working like a machine, quietly and steadily crushing anyone who stood in his way. His traits included everything that made a villain look hungry for power, and, of course, more wealth. Rawal's fuming expressions, greed in his eyes and the simplistic manner of lying to people to encroach upon their land made the character look not just interesting, but also overpowering. You could see the cunning real Velji behind the mask of kindness that he put in front of the people - and you were entertained by that. It was a perfect villain for a perfect commercial Bollywood entertainer, and you always, always knew that Rawal's screen presence guaranteed more there was 'Baazi' (1995), Paresh Rawal played Deputy Chief Minister Chaturvedi, who at first seems like an honest and respectable leader. However later, it's revealed that he is actually Chaubey, the main villain behind all the crime and a planned assassination. Rawal perfectly shows both sides of the character, a good-natured politician on the outside and a dangerous criminal from within. It was a complex character that needed strong acting, and Rawal delivered it acting brilliance sets him apart. We are not the first ones to say it. But, those who have any doubt can always go back to watching the films in which he proved thoroughly entertaining as a villain. The actor, who's 70 today, has got a legacy that's difficult to not only match, but to also keep track of. He could be everyone's favourite Teja (from Andaz Apna Apna), or Gundya (from Chup Chup Ke), but all of his comedy can't take away from the villainy he did over the years in cinema. He represented power and violence, and not just on the surface but deep within our hearts and minds. His characters were warnings, studies, and sometimes, even reflections on what had been happening in didn't need to stand on our heads with guns and swanky cars to prove he meant business. He was just there, existing, playing a baddie who would take the dread into our drawing rooms. He made us feel fear. And that true acting Reel

Thug Life pulled from Karnataka release as Kamal Haasan doesn't apologise, Himesh Reshammiya praises Paresh Rawal amid legal dispute with Hera Pheri 3: Top 5 news
Thug Life pulled from Karnataka release as Kamal Haasan doesn't apologise, Himesh Reshammiya praises Paresh Rawal amid legal dispute with Hera Pheri 3: Top 5 news

Time of India

time3 days ago

  • Time of India

Thug Life pulled from Karnataka release as Kamal Haasan doesn't apologise, Himesh Reshammiya praises Paresh Rawal amid legal dispute with Hera Pheri 3: Top 5 news

Showbiz is buzzing with drama! DOP Pratik Shah faces misconduct allegations, leading to his removal from the Sourav Ganguly biopic. Sara Ali Khan admits to feeling envious of Alia Bhatt's National Award win. Amidst legal troubles surrounding 'Hera Pheri 3,' Himesh Reshammiya commends Paresh Rawal's talent. Kamal Haasan's 'Thug Life' faces hurdles in Karnataka. Popcorn ready? Because today's entertainment headlines are juicier than a plot twist in a daily soap! From Thug Life pulled from Karnataka release as Kamal Haasan doesn't apologise, Sara Ali Khan confessing being jealous of Alia Bhatt when she won a National Award to Himesh Reshammiya praising Paresh Rawal amid his legal dispute with Hera Pheri 3; here are the top 5 stories that lit up the world of showbiz today! Thug Life pulled from Karnataka release as Kamal Haasan doesn't apologise The release of Kamal Haasan's film Thug Life in Karnataka has been postponed by a week following controversy over his remark that Kannada originated from Tamil. The Karnataka Film Chamber of Commerce demanded an apology, threatening to block the film's release. Haasan has refused to apologize, prompting the delay. Sara Ali Khan confesses being jealous of Alia Bhatt when she won a National Award In a candid reflection, actress Sara Ali Khan admitted to feeling envious of Alia Bhatt's National Award win for Gangubai Kathiawadi. She acknowledged that she had "dehumanised" Alia by overlooking the hard work and challenges behind her success. Sara emphasized that envy often stems from seeing only the achievements without understanding the effort involved. Javed Akhtar says it's easier to work for others than for his own children Veteran lyricist and screenwriter Javed Akhtar recently shared that working with his children, filmmakers Zoya Akhtar and Farhan Akhtar, is more challenging than collaborating with others. He described Zoya as a "tough taskmaster" and noted that both siblings have distinct filmmaking styles, making the professional dynamic demanding. Anees Bazmee on Diljit Dosanjh's exit from No Entry 2 Director Anees Bazmee has addressed reports of Diljit Dosanjh's departure from No Entry 2, clarifying that the decision was due to scheduling conflicts rather than creative differences. Bazmee emphasized his focus on the film's progress and praised Dosanjh's talent and honesty, expressing no hard feelings over the casting change. Himesh Reshammiya praises Paresh Rawal amid his legal dispute with Hera Pheri 3 During his recent concert in Mumbai, singer-composer Himesh Reshammiya paused mid-performance to commend veteran actor Paresh Rawal's contributions to the Hera Pheri franchise. Without directly referencing Rawal's recent exit from Hera Pheri 3, Reshammiya remarked on Rawal's exceptional performances in the first two films. He then transitioned into the song "Jumme Raat" from Phir Hera Pheri, which features Rawal alongside Akshay Kumar and Suniel Shetty. This gesture was perceived by many as a subtle show of support for Rawal amid the ongoing legal dispute concerning the third installment of the series. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store