Varma Corporation Ltd.'s PYAAR TUNE KYA KIYA, presented by Venus, produced by Ramgopal Varma and written-directed by Rajat Mukherjee, is a love triangle inspired by the Michael Douglas-Glenn Close starrer FATAL ATTRACTION.
Jai (Fardeen Khan) is a successful and ambitious photographer who believes in capturing the right image. He travels to Goa to find inspiration for an important forthcoming campaign, and runs into Ria (Urmila Matondkar). He tries to convince Ria to model for him by giving the usual jargon of her face being the best that he has seen, but to no avail.
The scene shifts to Mumbai where Jai's editor (Ravi Baswani) is 'loosing it' as the deadline for the magazine launch draws closer. Jai is convinced that Ria should be the face to launch the new magazine. He is more than convinced since he had shot her on the sly in Goa. Jai sets out to get her to model by turning on the perennial photographer's charm.
Ria is basically a headstrong loner, and is the only daughter of a rich industrialist (Suresh Oberoi). It takes a while for her to agree to pose for Jai, primarily because of Jai turning on the charm. They do a successful shoot together and their working chemistry leads on to a scenario whereby Ria falls in love with Jai.
There emerges an uneasy scenario, where the three main protagonists of the film ? Jai, Ria and Jai's wife Geeta (Sonali Kulkarni) ? unravel their emotions and discover their true calling.
Hindi cinema has often been accused of not deviating from the much-used-and-abused four/five plots since the past few decades. In that respect, PYAAR TUNE KYA KIYA explores new horizons. In a majority of cases, love stories in India have a feel-good end, but in this case, the makers live up to the promotional slogan, 'Love stories are not always pleasant.'
Although the film is, to an extent, influenced by a couple of western flicks, the makers have Indianised the theme keeping the Indian palate in mind. The best part of the enterprise is that it moves on one single track, not deviating into sub-plots or breaking into songs when not needed.
The initial portions establish the two lead characters' contrasting behavioural patterns carefully, since that lays the foundation for things to follow. The moment Urmila gives her nod for the photo-shoot, she gradually develops a liking for Fardeen, which culminates into a one-sided affair. And then she starts a series of demands on Fardeen's time and attention.
But he loses his patience and tells her in clear words to leave him alone. She grows pathological. She visits him at the studio, calls him at home in the middle of the night, visits his wife in the hospital?. Desperate to preserve his happy marriage, Fardeen tries to reason with her, but she is implacable.
The middle and subsequent passages of the flick are handled with convincing psychological realism. Urmila realising Fardeen is a married man, just before the interval, and her slipping into a depression subsequently has been handled with utmost sensitivity.
The post-interval portions are akin to walking on a tightrope as Urmila exhibits her obsessive streak. The portions thereafter are spellbinding and the viewer keeps wondering, what will be the outcome of this love story? In that context, the climax is perfect and the end is appropriate.
As a writer, Rajat Mukherjee deserves full marks for not deviating from the main plot. Each of the three characters is different from one another. But the narrative, which is devoid of clich? tends to get heavy in the latter portions and lack of relief compounds the problem.
As a director, Mukherjee has extracted commendable performances from the main cast, but the treatment of the subject is city-centric. However, he shows sparks of brilliance in scenes that demand intensity. A laudable effort considering the fact it is his debut vehicle!
Sandeep Chowta's music, to put it simply, is mind-blowing. The best song of the enterprise is undoubtedly 'Kambakht Ishq'. The song comes in two versions, but the picturisation of the racy version is awesome. The choreography (Ganesh Hegde) is outstanding and the execution (Sanjay F. Gupta) is fabulous. In fact, this one number will play a major role in magnetising the crowds to swarm the theatres.
Two more numbers stand out ? the title track and 'Rondhe Hain' ? which is a situational song. Cinematography is competent. Dialogues are natural.
The performances are wonderful, with Fardeen Khan enacting his portions ably. Sonali Kulkarni suits her role too. But the 'actual hero' of the film is definitely Urmila Matondkar, who will walk away with all laurels at the end of the day. Her career-best performance, she oozes intensity, love, hate, relentlessness and obsessive behaviour with perfection. And despite the fact that her character gets nuttier as the movie tags along, it is to Urmila's credit that we are able to feel for her pathetic persona.
Ravi Baswani and Rajpal Yadav's comedy track in the first half is hilarious. Specially Yadav, who is a complete natural. Suresh Oberoi is alright. Kannu Gill, as Urmila's maid, is okay.
On the whole, PYAAR TUNE KYA KIYA is a well-made film, which is targeted at the metros. The 'Kambakht Ishq' song and Urmila's bravura performance are two aces of this flick. The hype surrounding the film and the hit musical score will help the film take a great start and businesswise, this love story will have a pleasant ending at the box-office. If you are craving for something different, this film is for you. Go for it!