Title-translation: "The heart is still a child"
Director: Madhur Bhandarkar
Author: Madhur Bhandarkar, Anil Pandey, Neeraj Udhwani, Sanjay Chhel
Starring: Ajay Devgn, Emraan Hashmi, Omi Vaidya
Plot: Naren moves back to his child home - his parents are dead. Because the house is so big, he searches for some tenants and finds them in a shaadi.com employee, who'd like to be a poet - Milind - and the unemployed fitness teacher/ toy boy Abhay. All three of them have problems concerning love: Naren is attracted to a 17-years younger intern, while Milind falls in love with a radio VJane, interviewing him after a poet contest. Meanwhile, Abhay indulges in the luxury of being toy boy an ex-Miss-India, when suddenly he falls in love with her (grown-up) step daughter.
Written the 13th of March 2011
Madhur Bhandarkar is known for experimenting in his films, trying out unusual tactics, and establishing his actors welll (I'm talking about Fashion, Traffic Signal, Page 3 and the only film I'd seen from him until now: Corporate). With DTBHJ, he's jumping into the genre of rom-com for the very first time, this time with two well-known actors plus Omi Vaidya, who could already bring home the bacon in 3 Idiots. Besides, we have three until now rather unknown ladies. The male cast is one of the evident powers of the film, while it's possible to discuss the female part: In a unusual role for him, Ajay Devgn earns sympathy as charming pencil pusher/ male Naina (the one from Kal Ho Naa Ho). He also proves, that his otherwise nice voice isn't exactly adequate for singing.
|Take a look at Emraan's trousers...|
Rumour has it, that Madhuri Dixit has been thrilled by Emraan Hashmi's portrayal of the usual Casanova-role, and as always, I agree. It's especially nice that he's able to portray this character in a slightly different filmic level than otherwise, and I think I'm not alone with that thought. Even though the main theme of the film is sex (and not love, though I bet the makers wanted it to be love), the level isn't drowning as much as it uses to in similar films, but stays near Sex & the City (a show/ film that I like, but don't idolize). Only huge minus is caused by the distinct discrimination of homosexual persons, which is much more conspicuous than in Anjaana Anjaani for instance. A "reputable" filmmaker does not need this, especially with a film, that's quite entertaining otherwise. Then there's one sentence at the beginning, about the life of Emraan's character Abhay, which should have been edited away quickly - just like the rest of those "introducing" sentences. Not working here; the audience doesn't like to be treated as if it's totally dumb or stupid.
I also wasn't very fond of Abhay's big love, Nikki: She pitches herself as a big charity-lady, and talks about original Indian qualities - in born-and-bred Hinglish?! Face covered with make-up, wearing an outfit that doesn't even have a touch of traditional Indian clothes? Furthermore, we never get to know her very well, which is why the sudden falling-in-love also lacks a fundamental credibility.
|Somehow, I also don't have big problem with the age|
difference. Reason: It's mentioned (!).
The "Hinglish-source-of-irritation" shows up in a different situation as well, namely when Milind recites his poems, which seem to be "good" only because they're in Hinglish. Not a patch on Hinglish, I don't see a big problem in using it, but however there are circumstances, under which its usage is rather semi-optimal. Apart from that, Omi Vaidya is adorable and cute - by the way, I was surprised that I liked his "Dream Girl" Gungun, played by Shraddha Das, somehow. She was indeed both honest and fake, and very capricious against him, but she just had something. Perhaps Shraddha Das just comes with a bigger portion of talent than the rest of that female guard, but I'm not able to tell after one film only.
What I liked about the film was, that it never became "uncomfortable", you were (almost) never ashamed, and that despite this... well, not very fancy story. Just one scene at the end got one or two soap-opera-splashes too much. I don't want to tell you to much, but to the makers: a little less dharamdham, when someone tells his/her girl/boy friend, that he/she has fallen in love with someone else. Better let the still piano go on. Apropos music: The soundtrack is okay, nothing special, but nice.
Then what is my conclusion, now... Let's put it this way: You can see this film, but you don't have to. In the field of films-named-after-great-songs, it delivers a much better performance than many others, like for example Aashayein (2010).
Thank you for reading,
Mette M. K.