Magic Mantra Vision's PYAR KI DHUN, directed by Samarjit Dasgupta, is a love triangle.
Rohit (Milind Soman) and Priya (Swati) are from the same village and are engaged to be married. But destiny has other plans for Priya. She gets a scholarship to study abroad for which she leaves for U.K.
Rohit, who is overly possessive and of a suspicious nature, follows her to London subsequently. On reaching there he discovers a completely changed Priya ï¿½ cold and elusive. Priya reasons that marriage comes in the way of women's independence. A shattered Rohit tries to win her back.
Soon a new girl enters Rohit's life ï¿½ Nisha (Hena) ï¿½ who is looking for a man like Rohit to stand by her. She's someone who has always valued bondage and believed that possessiveness is an indication of true love. She craves for a man like Rohit, but Rohit does not reciprocate Nisha's feelings.
What happens next?
The basic premise of the story is engaging and could've been developed beautifully. But the love story suffers in two major departments ï¿½ screenplay and direction. For, the screenplay runs on too many tracks simultaneously, taking away the essence of the story, while the direction lacks sensitivity.
The film starts off as a love story, but as it progresses it deviates into various tracks, most of them unwarranted. Instead of focussing on the Milind ï¿½ Swati ï¿½ Hena affair, the love story is interspersed with tracks such as Smita Jaykar's past (Saeed Jaffrey), Nirmal Pandey and his nefarious activities and the Nicolas ï¿½ Swati one-sided affair. The outcome is a hotchpotch, with the main story getting sidelined completely.
Also, the roles of Navin Beri, Anita and Nicolas are half-baked and there is no culmination to their stories.
Director Samarjit Dasgupta's intentions seem proper, but his handling of the subject leaves a lot to be desired. Perhaps he wanted to package just about everything in the story ï¿½ romance (Milind, Swati, Hena), action (Nirmal Pandey), emotions (Smita Jaykar, Anita, Hena), light moments (Satish Shah) ï¿½ to make it a complete entertainer, but the outcome gets tedious after a point. Also, the climax is prolonged and it reminds you of the climax of several films and lacks originality.
Shantanu Moitra's music is easy on the ears, but, unfortunately, the music has not been promoted and so the songs hardly register any impact. Cinematography is inconsistent. The panoramic locales of London have not been captured to the fullest on celluloid.
Milind Soman gives a decent account of himself, although his unshaven look and ruffled hair (throughout) will not be appreciated. He should've been more careful about the way he appears on screen. Swati and Hena come up with sincere performances, although they need to work on their dialogue delivery.
Nirmal Pandey hams terribly. Smita Jaykar and Prem Chopra are adequate. Saeed Jaffrey does not impress. Satish Shah tries hard to evoke mirth. Navin Beri, Rajiv Verma, Beena and British actors Anita and Nicolas pass muster.
On the whole, PYAR KI DHUN is a weak fare and may not register any kind of an impact with the cinegoer.