A fine film about first loves not meant to be and how it´s difficult to realize a marriage can be full of love unspoken. Triangular love stories were, are and always will be in demand and Dahleez follows the suit, with the difference that the loser in this is not forced to die a valiant death and there is nobody fourth found to pacify him.
Meenakshi Sheshadri, who remains unjustly and painfully forgotten by 90% of Bollywood viewers today, is Naini, a beautiful girl catching an eye of Shekar and another of her friends (Jackie Shroff and Dalip Tahil being rather ridiculous trying to pass off as students) and ultimately choosing Shekar. Few songs later the two depart and plan to meet, but due to unexpected issue Shekar cannot make it. He unwisely sends his friend to explain this to Naini, but instead she is told by this rejected and jealous suitor Shekar is not interested in her anymore. Without examining the matter Naini feels insulted and retreats from Shekar´s life completely, leaving him confused and heartbroken.
...I so totally believe you guys are students who came camping.
Friendly advice: full focus on Meenakshi during the early part of the film helps.
The two meet few years later by an accident while skying in Kashmir, but before anything can be said Naini runs away and Shekar is left with his questions and unrequired love again. We are shown he became an army officer, who occasionally pours his heart out in songs he sings on TV (indeed), unknowingly wretching the heart of poor Naini who is made to listen to him – by her music loving and nothing suspecting husband Rahul (Raj Babbar). Indeed, the girl got hurt once, never sought any explanation from the guy she loved and got married, pretty much to show him she can do without him. But Shekar is not one of those who give up easily. Once he and Naini are forced to sing a weepy love song on TV together (ah the awkwardness of the „accidents“!) and her army husband leaves to train troops against terrorists (which requires his celibate apparently), Naini and Shekar start seeing each other again, him still in love and her not completely over him either....
The awkward moment...
..when Jackie is on TV...
...singing about you being a heartless bench...
...and your husband is enjoying it.
Beautiful Meenakshi and young, fit and sexy Raj Babbar were both excellent, Jackie (also young , fit and sexy) however had a rather ungrateful role of a showpiece for most of the movie. Some side characters deserved better treatment – namely Smita Patil, who appears for just a few minutes only to kill and to die in a fit of patriotic fervor. The action and emotional drama was not really well combined, especially by the end the action bits completely took over for the sake of some „dishum dishum“ without which any 80s film just couldn´t exist, plus it was needed for us to understand that Naini has to choose between two really patriotic and righteous and brave and macho men – with them saving each others life without having a clue they both love the same woman (long live the awkward!).
The 80s hold the greatest number of films that are just bad when it comes to Bollywood and it is not completely unjustified to label them the „dark times“ of Hindi film industry, yet Dahleez is one of those movies that could work very well had it not been for over-grown students (Jackie and Dalip at the beggining), some crappy dialogues, not quite engaging action sequences and not good enough development of Shekar´s character. It still has things to offer – like some melodious songs (though none gives us the chance to see Meenakshi´s unquestionable dancing genius), solid performance by Meenakshi Sheshadri and Raj Babbar at his watchable best.
Veera Kaur is a self proclaimed "world-class cricket batsman, right- and left-handed", for sure the best one for miles around. However as a country girl travelling most of the time with a theater company, she doesn´t really get an opportunity to show her skills. On the other side of the world, in England, there lives Rohan, an accomplished captain of an English cricket team, up until the moment his father calls him back to India, where his own little team has been loosing for years. And even though it´s against a Pakistani team of his friend, he just really wants to win this time. Rohan, of course, leaves everything just to see his daddy gets a victory once in a while, and he becomes the new captain and starts auditions to find the best players.
No clever caption. Just enjoy her beauty.
What a better opportunity for Veera could ever come? However, you see, she is a girl, and as such not even allowed to audition. But taking an inspiration from her theater company, Veera does not give up – she throws away her kohl and bangles and becomes – Veer! Naturally now nobody has any objections against her being in the team. But this triumph has it´s disadvantages for Veera, one of them being forced to use men´s changing room. After being caught by Rohan in her female avatar in there, she quickly pretends to be Veer´s sister. And Rohan, after some arguing and bickering, falls in love with her....
Sometimes you have to forget you´re a woman...
...when you have man´s dreams.
But ouch! The pain of the changing room!
Few more meetings and Veera too falls for the handsome cricketer, trying as hard as she can to keep other girls away, as well as rediscovering the hindustani dil in him, that has been exposed to way too much English influence over the years. It is also easier for her to predict and guess what Rohan´s feelings and thoughts are, since he goes to be adviced to the person he considers Veera´s closest confidant – her brother Veer....
From English cool guy...
...back to the roots!
I am not a fan of sport films. They always show a man/woman who are in a way an outcast and should not be doing the sport or are past their peak, how they challenge everything and in the end overcome everything, make it to the big finale where they either win or loose, but if the latter, it has a deep moral subtext and they always earn more respect than the winner. There are sport films that, even though with the same formula, can step out of the mould (best example is Chak De India), but Dil Bole Hadippa is not one of them. It is quite enjoyable for one watch, but there is not really a repeat value and throughout I just felt something was missing and thus it all was incomplete. Especially once the final match starts, the film seemed boring – which was the exact opposite of what it should be.
Rani was just brilliant and her comic scenes were priceless, she owned the film completely, leaving just very little space for Shahid, who seems rather halfhearted anyway. Especially his emotional outburst upon finding out the truth about Veer being Veera, seemed very much rehearsed. There is one scene where I was willing to forgive all, and that I will definitely cherish always: the little stage show with references to DDLJ, MPK and of course HAHK. This was the first (only?) time I ever saw anyone actually word by word acting the famous HAHK scene, as as delightful as Rani and Shahid were, images from the original films were simply flashing through my mind and I caught myself smiling at them. The film, as every true Yash Raj production, is beautiful visually, very colourful without making your eyes sore, music is forgettable.
Shahid´s take on Shahrukh....
...and Rani´s on Madhuri.
The film failed to make the mark in history of cinema, it didn´t even do too well at the box office, and frankly I can understand why. The many flaws can always be forgiven and forgotten, but for that a movie needs to have a certain complexity, something that touches the heart or makes you think. Dil Bole Hadippa remains an OK one time watch without this quality.
There is really only one legitimate and valid reason why to watch Raja and that is Madhuri Dixit. Without being biased in the least, this was a film she owned completely and fully, brought life and energy into it, made it not just watchable but actually entertaining, and ultimately carrying it completely on her delicate shoulders to the hit status. The title may have been Raja, but just like three years earlier when Beta became Beti, one screening was enough for janta and critics to re-christen the movie to Rani. The movie is essentially a typical 90s Bollywood masalla, with pyaar between the hero and heroine being impossible due to money issues and family enmity, with lovely songs, memorable dance number and poetic justice coming hand in hand with the redemption of the villains in the end. All Indra Kumar style aka with logical loopholes that are brushed away with a daring grin and lots of over the top comedy.
The only reason to watch the film.
Two wealthy businessman brothers Rana and Vishwa have just proposed a future aliance of their little sister Madhu with Raja, just as little brother of another wealthy businessman Birju. But as soon as the engagement of the children, who are indeed fond of each other, is confirmed, Birju looses all his property because of a big fire in a factory. Not only poor Birju is a beggar now, but his wealthy friends call off the engagement, and to top it all he gets electrocuted (!) which results in him being mentally challenged for the rest of his life. Fortunately for him his little brother manages to take care of him, even though the two now live in the outskirts of the city in poverty.
The only reason to watch the film.
Years are passing by and soon little cute Raja grows into rather un-cute Sanjay Kapoor, dreaming about the little girl whom once he was engaged to, and refusing all other brides (kind of highly presumptious of him if you ask me). It may be bit of a trouble looking for her though, as she too has grown up and Raja doesn´t even know what she looks like. She would have to literally run into his arms for him to find her. And she does, following a lost bet. While she, unaware that he is her childhood friend, falls in love immediately with his unattractive wooden self, he only falls in love with the gorgeous, lively and enchanting creature AFTER he finds out she is Madhu (makes as much sense as a dog with a taco on its head). But her brothers, who by the way have not aged a day, are opposed to this love, intending to wed their sister to a rich Prince. What follows is a whole avalanche of situations that rate from silly to completely insane, including Madhuri in nothing but a loose white shirt romancing Sanjay in the presence of a group of archeologists who are all apparently over 100, the run away lovers believing that those who were after them were only hunting them to give them their blessing, breaking apart because of a huge huge misunderstanding and getting married in what has to be one of the most bizarre wedding ceremonies ever, unless you consider walking the seven circles around a flaming fountain with one of your brothers nearly burning to his death normal.
The only reason to watch the film.
Raja was supposed to be Sanjay Kapoor´s successful re-launch ater his previous flop debut, and till this day remains his only hit. Or rather the only hit he ever starred in as the main male lead, because as I´ve already mentioned the movie was ruled supreme by Madhuri. Sanjay Kapoor never was a hero material. He suited small, unchallenging roles of nice uncles and brothers, but as a lead he is painfully weak a performer. The one unchanging expression, zero voice modulation, unimpressive dialogue delivery and of course a complete lack of charisma makes one wonder if this really is a brother of Anil Kapoor (whom I do not really like, but his X-factor is just incredible). All others overshadow him completely, from excellent Paresh Rawal to briefly appearing Himani Shivpuri. And of course – Madhuri.
The only reason to watch the film.
When she appears on the screen, it´s like sun coming out of the gray clouds. She enacts her character with admirable ease, providing not only powerful emotional scenes, but also her very much under-used (by the filmmakers) comic sense, which proves to be simply delightful. She shows that she owns the possibly most expressive face ever and is able to change expressions of all kinds within a second – just watch the following song!
After the watching you really feel it was not Raja but Madhu, who was the lead. She is girly, spoilt and even rather snobbish at first, yet still good at heart. It was refreshing to see a girl going after the guy (and not vice versa) and that too so openly, boldly and being completely unashamed of anything just to get her way.
Raja is heavily flawed, yet still a classic. And if I haven´t mentioned it before, it´s because of one simple reason only. Madhuri Dixit. She makes it all worth it and more.
Starring: Aamir Khan, Juhi Chawla, Dalip Tahil, Sharokh Irani, Kunal Khemu, Baby Ashrafa
Released: 1993
Hum Hain Rahi Pyar Ke made me genuinely happy. For many reasons. The main being the fact that Juhi Chawla actually had a role. In most of her mainstream films I´ve seen so far she was largely used as a decoration, excuse for a song or damsel in distress, be it in Darr, Duplicate or Bol Radha Bol. However here she got her due and she truly used every second to her advantage.
Young Rahul (AAMIR Khan. AAMIR. Not SHAHRUKH. Understand?) has just inherited a textile factory saddled with debt plus three kids from his tragically deceased sister. He tries his best to get on well with the children, but managing them and the factory proves to be rather difficult, especially since his workers are all women making eyes on him and dancing instead of working. Ad to it a hungry for shaadi rich daughter of a man you´re making a commission for and what do you have? A big load of trouble. Nobody seems to understand the man´s plight and the kids are getting more and more insufferable by day, drawing away all nannies with their pranks.
Run over by life........... and children.
After Rahul breaks his promise of taking the children to the fair and locking them in the house the three siblings – Vicky, Munni and Sunny – run away through a window and completely rupee-less make their way to the fair. While trying to steal some sweets, they bump into Vaijanti, a young girl, at the moment engaged in the same illegal action. Together they all manage to escape the policeman and upon hearing that Vaijanti has nowhere to go, the children practically smuggle her home, where she spends two days hiding before their strict uncle. But nothing lasts forever and after a rather eventful night Rahul finally finds out there are not three, but four people he needs to look after now. Especially since Vaijanti makes up a story about being a poor orphan, while in fact she has run away from home and a rather sleazy groom...
No better place to hide from the police then a center of a stage.
Hum Hain Rahi Pyar Ke breathes innocence from the beginning to the end (despite that horny girl chasing Aamir). Its magic doesn´t make differences between generations and I can easily imagine seniors, children or adult people watching it and having a good time. It has everything – fluff, fun, romance, action – but everything is still very much innocent and even the slight thrill before the ending is delightfully funny. Great surprise were the three children. It is one of the very rare films where I did not feel the need to strangle them for being artificial and annoying – because they were not. They all did a good job without being too giggly or too weepy.
Even Juhi was shocked at the non-annoyance of the kids.
Aamir Khan is also very good. Watching this film after Lagaan and 3 Idiots I was reminded of how much I loved this old Aamir, who used his instinct more then his head (as I like to lament in every review which concerns him). Hum Hain Rahi Pyar Ke has him in a rather difficult role of an uncle, who does his best to satisfy the children, but fails with his methods, which sometimes are not exactly right, and sometimes he has to face a selfish misunderstanding by the trio. Aamir made his character look real, and even in the moments, in which he is unlikeable to the children, he manages to convince you that he wants their best and is just utterly helpless from time to time.
Can we have them in a film again please?
However, as I have mentioned earlier, the film ultimately belongs to Juhi. Because she is the soul of all things. She is the active (!) reason of things happening. She is the fun. She is that innocence I loved. I´m sure other actresses would have done a good job too, but I seriously doubt any would bring it to Juhi´s level. Such was her natural charm and comic sense in this one, and she truly deserved that Filmfare she later received. Looking sweet and simply throug-out the film she makes you smile with her mere presence. This is definitely my favourite film and performance of hers, no matter how much more „meaningful“ stuff she was appreciated later in her career. Ad to it she´s acting opposite Aamir (my favourite of her pairings), and you are left with a feeling of bliss.
Not blissed out just yet.
Part of the movie´s appeal lies also in music. Every single track is beautiful and there is pretty much everything from fun songs to romantic and family ones. The following is my favourite, which really stuck in my head and I find myself humming it from time to time.
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