|
 |
 |
 |
| |
|
|
By Taran Adarsh, October 18, 2002 - 11:39 IST
Director Anant Mahadevan's DIL VIL PYAR VYAR, produced by Metalight Productions P. Ltd. in association with Insight Productions P. Ltd., has four separate love stories merging into one climax.
The first story is the story of how love can be swallowed by ego, pride and insecurity. Krish (R. Madhavan) and Raksha (Namrata Shirodkar) are happily married. Both are aspiring singers and want to become singing stars. Though Krish is more ambitious than Raksha, it is Raksha who succeeds first and becomes a rage. And their marriage totters.
The second love story is a story of love getting a second chance. Dev (Sanjay Suri) is a widower, his wife Payal (Dipannita Sharma) dies soon after their honeymoon. He moves to Mumbai from Pune with his sister Rachna (Bhavna Pani). Here he meets Gauri (Sonali Kulkarni), who lives with her psychosomatically ill brother Gaurav (Rakesh Bapat).
Though they fall in love, the shadow of Gaurav's illness is always between them. And then Rachna falls in love with Gaurav… That's the third love story.
The fourth love story is the story of Hrithik (Jimmy Shergill) and Jojo (Hrishitaa Bhatt). Even through Hrithik is a multi-millionaire and both the families want them married, Jojo still rejects Hrithik.
DIL VIL PYAR VYAR is nothing short of an experiment. For the first time, four love stories are interwoven with evergreen gems (songs) of yesteryears, set to tune by none other than the legendary R.D. Burman.
At the script level, DIL VIL PYAR VYAR appeals in parts. And that's mainly because barring two love stories (Sanjay Suri-Sonali Kulkarni and Rakesh Bapat-Bhavna Pani), the remaining love stories are just not connected with each other. This, in turn, gives the viewer an impression of watching a TV serial, with one part ending and the other taking off.
The fault also lies in the fact that barring the Jimmy-Hrishita love story and to an extent the Madhavan-Namrata story, the remaining two stories have not been well etched and appear half-baked. The Rakesh-Bhavna track is the weakest link in the plot, while the Sanjay-Sonali story could've been effectively narrated.
The Madhavan-Namrata track is straight out of ABHIMAAN (Amitabh-Jaya) and also, to an extent, reminds you of the recent release SUR (Lucky Ali-Gauri Karnik). Though the idea is interesting and identifiable, it does not come across as strongly as one would've expected it to be.
The narrative also suffers due to its lethargic pace, which tests the patience of the viewer. Moreover, the narrative is laced with too many songs – mainly in the first half – which act as speed breakers.
Director Anant Mahadevan has extracted decent performances from the main cast, but how one wishes he would've concentrated on making the love stories engrossing. The best part of the film, however, is its finale, but the song 'Yaadon Ki Baraat' was just not needed at that juncture.
The screenplay is not devoid of flaws, but the dialogues (Sanjeev Puri) are excellent. Besides being novel, they make you sit up and notice them.
R.D. Burman's melodies have been given a new sound by Bablu-da and although the effort is laudable, the original yet remains a landmark.
Amongst the key players, it is Jimmy Shergill who stands out with a performance that is natural to the core. He portrays the easygoing attitude of the character effectively. Madhavan is likeable and his few dramatic scenes are a treat to watch. Also, he looks much better than his first film.
Sanjay Suri is relegated to the background, while Rakesh Bapat is pure teakwood.
Among heroines, Namrata Shirodkar essays her part with admirable ease. Not only does she look gorgeous, her performance is truly first-rate. Hrishita Bhatt is alright, but she needs to take care of her outfits. Sonali Kulkarni is so-so, while Bhavna Pani gets no scope to perform. Gulshan Grover is quite nice, while Kiran Kumar is adequate.
On the whole, DIL VIL PYAR VYAR is an ordinary fare – not great, not bad either – which has some chances at select theatres of metros mainly. Being pitted opposite a big release (HATHYAR) will hamper its prospects at several centres for sure.
  
|
|
|
|
 |
|
 |
|
