LEKAR HUM DEEWANA DIL Movie Review: An ImtiazAli retrospective of elopement films
The sense of déjà vu is total and crystal clear. It’s an
unprecedented deed in the history of Bollywood film
faking. It’s like a cut-paste job of a filmmaker’s body
of work presented as a brand new piece of art.
If it works, the other new age filmfakers may give it a
try as well, developing and creating countless
‘retrospective’ films of this kind. There cannot be a
starker example of the utter creative bankruptcy of
the new age Bollywood brigade. Nakal ki nakal phir
us ki bhi nakal, ise kehte hain divaalia akal.
We can safely term it as a film of ‘elopement’,
‘bhaago-bhagaao shaadi’ genre. Nothing changes in
these films except their lead pair and some variations
here and there depending on what Hollywood movie
writers and directors watch while developing their
inspired screenplays. This year itself we saw the
release of a few films of this genre and now we have
one more.
Dinesh Nigam aka Dino (Armaan Jain) is a wild fun
fellow and Karishma Shetty (Deeksha Seth) is a wild
fun loving girl. Both are friends. Karishma’s father, a
restaurant/bar owner, finds a suitable boy for her
from his community. She does not approve of him.
She tells her problem to Dino. After a beer inspired
conversation in an Irani bar both conclude that they
should marry each other. They elope with bag and
baggage and a street puppy and now are on the run
pursued by their concerned parents. They also get
married in a court and land up in a Naxal camp in
Dantewada. They fight over small things and split
and are back to their parents. They file for a divorce
and are advised counselling as part of a pre-divorce
ritual. Karishma is now ready to be married to any
boy her parents suggest. Is it over between them?
Will Karishma actually marry a Shetty boy of her
parents’ choice?
If you are really keen to have the answers to these all
important life and death questions, you must not
miss this genre classic. There are other very
interesting things that happen in the film. The break
up is sparked off when the heroine is going with a
water filled iron mug to perform her potty, looking for
a safe bush in the Dantewada jungle and the hero
mocks her. The peeved heroine throws the water
from the potty mug on the hero and both come to
blows and decide to end their marriage. Strangely,
after having spent so many days together they have
not done any ‘gandi baat’. How sweet and innocent,
isn’t it? Acche bacche, ghar se bhaage, shaadi bhi ki,
lekin koi gandi baat nahin hui. And we thought they
were rebels with a cause.
You may even watch the film for the item number
performed by a film unit for the Naxals on the request
of their leader. The lead dancer looks hotter and
wilder than the heroine, strictly my POV.
You can watch the film for its end credits as well.
That's when the marriage-by-elopement-couples
narrate the heart-warming tales of their courage. In
fact, in the first 30 minutes one gets an impression
that the film is about the perils of juvenile love affairs
and idiotic acts of elopement. It turns out otherwise.
It's actually a cinematic crusade, a jihad, in support
of elopement.
So, now, you have so many reasons to watch this
film apart from the fact that it’s an Imtiaz Ali
retrospective. All the key elements and scenes of his
romantic classics find their place in it. In a way it’s a
classic made out of classics. Since his classics are
inspired by various other romantic classics of the
world, it makes the film a mai-baap-bhai-behan of
them all, a classic dhamaal.
I know, I know, it’s not an Imtiaz Ali film. You don’t
have to remind me. Even his films are not his. But
whose film is it then?
Rating: 1/5
Rajesh Kumar Singh (the author) is Editorial
Consultant for Festivals and Markets for
BollywoodTrade.com. He is a filmmaker, critic
and market analyst. The information and views set
out in this movie review are those of the author
and do not necessarily reflect the official opinion
of the Publication/Organization. Neither the
Publication/Organization nor any person acting
on their behalf may be held responsible for the
use which may be made of the information
contained therein.
unprecedented deed in the history of Bollywood film
faking. It’s like a cut-paste job of a filmmaker’s body
of work presented as a brand new piece of art.
If it works, the other new age filmfakers may give it a
try as well, developing and creating countless
‘retrospective’ films of this kind. There cannot be a
starker example of the utter creative bankruptcy of
the new age Bollywood brigade. Nakal ki nakal phir
us ki bhi nakal, ise kehte hain divaalia akal.
We can safely term it as a film of ‘elopement’,
‘bhaago-bhagaao shaadi’ genre. Nothing changes in
these films except their lead pair and some variations
here and there depending on what Hollywood movie
writers and directors watch while developing their
inspired screenplays. This year itself we saw the
release of a few films of this genre and now we have
one more.
Dinesh Nigam aka Dino (Armaan Jain) is a wild fun
fellow and Karishma Shetty (Deeksha Seth) is a wild
fun loving girl. Both are friends. Karishma’s father, a
restaurant/bar owner, finds a suitable boy for her
from his community. She does not approve of him.
She tells her problem to Dino. After a beer inspired
conversation in an Irani bar both conclude that they
should marry each other. They elope with bag and
baggage and a street puppy and now are on the run
pursued by their concerned parents. They also get
married in a court and land up in a Naxal camp in
Dantewada. They fight over small things and split
and are back to their parents. They file for a divorce
and are advised counselling as part of a pre-divorce
ritual. Karishma is now ready to be married to any
boy her parents suggest. Is it over between them?
Will Karishma actually marry a Shetty boy of her
parents’ choice?
If you are really keen to have the answers to these all
important life and death questions, you must not
miss this genre classic. There are other very
interesting things that happen in the film. The break
up is sparked off when the heroine is going with a
water filled iron mug to perform her potty, looking for
a safe bush in the Dantewada jungle and the hero
mocks her. The peeved heroine throws the water
from the potty mug on the hero and both come to
blows and decide to end their marriage. Strangely,
after having spent so many days together they have
not done any ‘gandi baat’. How sweet and innocent,
isn’t it? Acche bacche, ghar se bhaage, shaadi bhi ki,
lekin koi gandi baat nahin hui. And we thought they
were rebels with a cause.
You may even watch the film for the item number
performed by a film unit for the Naxals on the request
of their leader. The lead dancer looks hotter and
wilder than the heroine, strictly my POV.
You can watch the film for its end credits as well.
That's when the marriage-by-elopement-couples
narrate the heart-warming tales of their courage. In
fact, in the first 30 minutes one gets an impression
that the film is about the perils of juvenile love affairs
and idiotic acts of elopement. It turns out otherwise.
It's actually a cinematic crusade, a jihad, in support
of elopement.
So, now, you have so many reasons to watch this
film apart from the fact that it’s an Imtiaz Ali
retrospective. All the key elements and scenes of his
romantic classics find their place in it. In a way it’s a
classic made out of classics. Since his classics are
inspired by various other romantic classics of the
world, it makes the film a mai-baap-bhai-behan of
them all, a classic dhamaal.
I know, I know, it’s not an Imtiaz Ali film. You don’t
have to remind me. Even his films are not his. But
whose film is it then?
Rating: 1/5
Rajesh Kumar Singh (the author) is Editorial
Consultant for Festivals and Markets for
BollywoodTrade.com. He is a filmmaker, critic
and market analyst. The information and views set
out in this movie review are those of the author
and do not necessarily reflect the official opinion
of the Publication/Organization. Neither the
Publication/Organization nor any person acting
on their behalf may be held responsible for the
use which may be made of the information
contained therein.
LEKAR HUM DEEWANA DIL Movie Review: An ImtiazAli retrospective of elopement films
Reviewed by TeknoBee
on
2:51 PM
Rating:
Reviewed by TeknoBee
on
2:51 PM
Rating:
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