Venus Records & Tapes Ltd.'s HUM HO GAYE AAP KE, written-directed by Ahathian, is a remake of the Tamil hit GOKULATHIL SEETHAI, which was also made in Kannada as KRISHNA LEELE.
HUM HO GAYE AAP KE tells the story of Rishi (Fardeen Khan), son of billionaire Oberoi (Suresh Oberoi), who doesn't believe in love or the institution of marriage and feels that money can buy everything in the world. Till one day, when he realises that one thing that can never be bought is love.
Mohan (Apoorva Agnihotri) is Rishi's college friend. Hailing from a middle class family, he is employed in Rishi's office. Mohan is a strict believer in love and is looking forward for the right partner.
Enters Chandni (Reema Sen), a beautiful middle class girl, who believes in love, traditional values and morals. Both Rishi and Mohan are never the same again.
Chandni's entry causes upheaval in their lives. But who wins her hand in the end?
The plot is waferthin and has been witnessed umpteen times on the screen earlier. A rich, spoilt brat falling in love with a simple, middle class girl, has been presented in a new avtaar this time.
But HUM HO GAYE AAP KE does not rise beyond the ordinary because what could've been conveyed in 14 reels has been needlessly stretched to 17 reels. The impact of the most delicate sequences, therefore, gets diluted.
On the script level, the film has so many loopholes that it is difficult to fathom how the film did remarkable business when made in two regional languages before.
To cite instances, when the heroine runs away from her marriage mandap, no effort is made by her mother to trace her or find out her whereabouts. Even the groom (Mahesh Thakur) conveniently agrees to let the bride unite with her lover and suggests that he would marry her sister instead. This looks absolutely far-fetched!
Prior to that, the romance between Apoorva Agnihotri and Reema Sen looks abrupt. In his very first meeting, he proposes marriage to her and surprisingly, she doesn't rule out the possibility either.
Coming back to the marriage scene, when Reema spots Fardeen driving the car, she reacts with a smile, although she should've been aghast to see Fardeen there, since, prior to this sequence, Fardeen had directly told her that he would have her in his bed one day.
In the post-interval portions, Reema's love for Fardeen is not well defined. In the pre-climax, Suresh Oberoi's somersault takes the viewer by surprise. It adds to the length of the film and makes the goings-on dreary.
Even the climax in the train is hardly sensitive. For, the heroine suddenly breaks down and admits her fault. A more appropriate ending could've been thought of.
Director Ahathian has handled certain moments with aplomb, but as a writer, he relies too heavily on the tried-and-tested formula to convey the story. Though a few individual sequences are well treated, the outcome is cumbersome due to the excessive length.
In the second half specially, a majority of songs come up without a valid situation. Even otherwise, the second half is lengthy and can do with some trimming.
Nadeem-Shravan's musical score is the only redeeming aspect. The film has lilting numbers that are strikingly picturised as well. Those that stand out are 'Pehli Baar Dil Yu', 'Love Me Just For The Day', 'Dekho Ye Deewana Maara Gaya' and the title track (surprisingly, the song is picturised on two dancers!).
The picturisation of a couple of songs at the lush locales of New Zealand enhances the visual appeal of the film. Cinematography (Ravi Yadav) is first-rate. Dialogues (Sunil Kumar Agarwal) are functional.
Fardeen Khan is an absolute miscast in the role of a casanova. The role required an actor of calibre and though Fardeen tries hard, he does not succeed. In the first half specially, he looks awkward and ill-at-ease. Reema Sen looks pretty and does a decent job. Apoorva Agnihotri does not impress.
On the whole, HUM HO GAYE AAP KE is a mediocre film that will face an uphill task at the ticket window.