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By Taran Adarsh, September 13, 2002 - 16:28 IST
You saunter in a nearby cinema hall with pre-conceived notions about a film, at times. But the film springs a pleasant surprise and all notions peter out. That's the case with Ashco Media Arts P. Ltd.'s YEH KAISI MOHABBAT.
You don't expect much when you walk in to see YEH KAISI MOHABBAT, but the way this murder mystery unfolds on screen and the way it has been treated by debut-making director Dinkar Kapur, takes you by surprise.
Vicky (Krishna), who is brought up by his mechanic-friends, visits discotheques to attract the attention of wealthy girls. He bumps into a rich girl Tina (Deeksha) and tries to befriend her by pretending to be a wealthy man.
Later, Vicky saves Rahul (Sharad Kapoor), an industrialist, who in turn gives him a job to keep an eye on his wife Priya, a look-alike of Tina. On a solitude night Priya persuades Vicky to come to her house and tries to seduce him.
But she gets murdered under mysterious circumstances. Why was she murdered? Who killed her?
There's no denying the fact that the film relies on clich?and age-old masala, but the drama, mainly in the early part of the second half, keeps your interest alive. The mystery element is intriguing and the film succeeds in keeping the viewer on tenterhooks.
Besides the deft treatment, what also elevates the goings-on is the foot-tapping music (Sandeep Chowta) and vibrant stunts (Andalib Pathan). Chowta's music is easy on the lips and at least three numbers leave a mark – the title track, 'Baahon Mein Aa Jaaon' and 'Din Jawaani Ke Hain'.
The stunts are novel and among the highlights of the film. Cinematography (S. Pappu) is up to the mark. Producer Ashok Kotwani has spent lavishly in the making – the production values are of a high order, with no stone left unturned.
Not that the film is without flaws…
First and foremost, the songs flow in rapid succession in the first half, while the story hardly inches ahead. Also, the film tends to get too talk-heavy in the second half. Plus, the climax has been stretched unnecessarily. At least 20 minutes can easily be deleted for a better impact.
Krishna does not look hip, but has what it takes to deliver the goods. He's good in dances, first-rate in stunts and perfect at delivering the right expressions. But he needs to take care of his appearance – his dress sense needs immediate refurbishing.
Deeksha is photogenic, dances with grace and leaves a strong impact in dramatic sequences. Viveka Babajee has no role to speak of. Sharad Kapoor is okay. Deepak Tijori is adequate. Mukesh Rishi does a fine job. Anjan Srivastava does well. Johny Lever entertains, although he tends to get a bit loud at places.
On the whole, YEH KAISI MOHABBAT has all the necessary ingredients and merits to appeal to the masses. But lack of face-value and the tough oppositions in the coming weeks (SHAKTI, GUNAAH) may curtail its growth to an extent. Trimming the film by at least 20 minutes will only help.
 
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