|
Bollywood India |
| Indian Actress |
| Indian Movies |
| Indian Music |
| Indian Models |
| Home |
 |
Dil Pe Mat Le Yaar (General Movie ,2000)  Starring
|
Synopsis
After having failed to make any impact with his film Jayate, Hansal Mehta has tried to do a remake of Ram Gopal Verma's
Satya, in his latest offering Dil Pe Mat Le Yaar.
Not so much so in terms of content, but rather the treatment of the subject. Starring Tabu, Saurabh Shukla and Manoj Bajpai in a
romantic role, the film deals with the unpredictability of life.
It is a story about the people living in a huge metro like Mumbai – original residents as well as immigrants --- trying to make some
sense of their daily struggle for survival. The movie tries to reflect the various social strata that exists in the city, and how
gradually each individual becomes a part of this bustling metropolis.
While Manoj Bajpai plays a small-town lowly mechanic, Tabu, his love interest, plays a journalist in the movie. Saurabh Shukla, 'Kallu
Mama' of Satya, plays Bajpai’s friend.
Despite reality being a canvass for the film, it is not a heavy film. An attempt has been made to capture all the little foibles of
life, yet giving out the message of taking life as it comes.
The music of the film has been scored by Vishal. Some songs like Chal Padi have done quite well in the music charts.
Slated for an early October release, the director too, of TV cookery show 'Khana Khazana' fame, hopes to reach a foothold in Bollywood.
Review
It’s funny. It’s disturbing. It is about a village bumpkin’s misadventures in a mega polis.
Dil Pe Mat Le Yaar is director Hansal Mehta’s second brave attempt after Jayate to redefine popular cinema by imbuing it with
realistic entertainment.
Apart from a promising cast of Tabu and Manoj Bajpai, the film brims over with underexposed talents. Hansal has put a lot of trust in
not-so-well-known actors like Aditya Srivastava, Kishore Kadam, Divya Jagtale and Saurabh Shukla. Vishal’s delectable score is another
highlight of the movie.
Saurabh Shukla whom Mehta describes as ‘Indian Danny De Vito’ has come up with a witty script, which, coupled with laudable
performances by Tabu and Manoj, make the film worth watching. Manoj’s theatre background and the fact that he doesn’t wear attitude on
his collar make him a moldable actor. The ease with which Bhiku Mhatre got under the very skin of a village bumpkin is quite
commendable.
Ram Saran Pandey, a rustic simpleton from Jaunpur comes to Mumbai with empty pockets and a suitcase full of dreams. Living in a sleazy
chawl with a genial company of seven like-minded people and working as a motor mechanic he makes the ends meet.
Now when our Jaunpur ka bhaiiya is a motor mechanic, it is obvious that some pretty damsel’s car is bound to break down at an unlikely
hour. In one such chance meeting Ram Saran is clean bowled by a beautiful journalist Kaamya Lal (Tabu) who has a penchant for
human-interest stories.
Impressed by Ram Saran’s innocence, honesty and rustic simplicity she sees in him a prospective story and, without further ado decides
to use his love as grist to her mill. She shows him around the rich circles where he is but a misfit.
Twisting around her little finger and besotted by his love for her Ram Saran is only too eager to oblige her. But for Kaamya he is
just a cushy job. Everytime he throws himself over her in a somewhat childlike confession of his love for her, she rebuffs him.
But soon the truth is split open wide after Ram Saran sees the lady of his dreams in bed with someone else. Down goes our Ramu Bhaiiya
in a precipitous fall deep into the mire of netherworld. The suds are all blown off and the water is clear now. That’s the end of the
innocence. He plans to go to Dubai and even takes to the gun, which he would not have dared to touch otherwise, not even with a
bargepole. The city again wins in corrupting a rustic lad.
The movie has its ups and downs. The joie de vivre, which is quintessential to the first half gives in to a somber mood in the second
half.
Unlikely though it may seem not all the stories have neat ends. Not always does the good win over evil. Considering the extent to
which human values have degenerated in the cities, it doesn’t seem strange why Hansal Mehta chose such an offbeat end for this film.
In fact the end has an impact and leaves a big question mark. There is a message too—Dil Pe Mat Le Yaar