The
first story is the story of how love can be swallowed
by ego, pride and insecurity. Krish (R. Madhavan)
and Raksha (Namrata Shirodkar) are happily married.
Both are aspiring singers and want to become singing
stars. Though Krish is more ambitious than Raksha,
it is Raksha who succeeds first and becomes a rage.
And their marriage totters.
The
second love story is a story of love getting a second
chance. Dev (Sanjay Suri) is a widower, his wife Payal
(Dipannita Sharma) dies soon after their honeymoon.
He moves to Mumbai from Pune with his sister Rachna
(Bhavna Pani). Here he meets Gauri (Sonali
Kulkarni), who lives with her psychosomatically
ill brother Gaurav (Rakesh Bapat).
Though
they fall in love, the shadow of Gaurav's illness
is always between them. And then Rachna falls in love
with Gaurav… That's the third love story.
The
fourth love story is the story of Hrithik (Jimmy Shergill)
and Jojo (Hrishitaa Bhatt). Even through Hrithik is
a multi-millionaire and both the families want them
married, Jojo still rej
ects
Hrithik.
DIL VIL PYAR VYAR is nothing short of an experiment.
For the first time, four love stories are interwoven
with evergreen gems (songs) of yesteryears, set to
tune by none other than the legendary R.D. Burman.
At
the script level, DIL VIL PYAR VYAR appeals
in parts. And that's mainly because barring two love
stories (Sanjay Suri-Sonali Kulkarni and Rakesh Bapat-Bhavna
Pani), the remaining love stories are just not connected
with each other. This, in turn, gives the viewer an
impression of watching a TV serial, with one part
ending and the other taking off.
The
fault also lies inthe fact that barring the Jimmy-Hrishita
love story and to an extent the Madhavan-Namrata story,
the remaining two stories have not been well etched
and appear half-baked. The Rakesh-Bhavna track is
the weakest link in the plot, while the Sanjay-Sonali
story could've been effectively narrated.
The
Madhavan-Namrata track is straight out of ABHIMAAN
(Amitabh-Jaya) and also, to an extent, reminds you
of the recent release SUR (Lucky Ali-Gauri Ka
rnik).
Though the idea is interesting and identifiable, it
does not come across as strongly as one would've expected
it to be.
The
narrative also suffers due to its lethargic pace,
which tests the patience of the viewer. Moreover,
the narrative is laced with too many songs –
mainly in the first half – which act as speed
breakers.
Director Anant Mahadevan has extracted decent performances
from the main cast, but how one wishes he would've
concentrated on making the love stories engrossing.
The best part of the film, however, is its finale,
but the song 'Yaadon Ki Baraat' was just not needed
at that juncture.
The
screenplay is not devoid of flaws, but thedialogues
(Sanjeev Puri) are excellent. Besides being novel,
they make you sit up and notice them.
R.D.
Burman's melodies have been given a new sound
by Bablu-da and although the effort is laudable, the
original yet remains a landmark.
Amongst
the key players, it is Jimmy Shergill who stands
out with a performance that is natural to the core.
He portrays the easygoing attitude of the character
effectively. Madhavan is likeable and his few dramatic
scenes are a treat to watch. Also, he loo
ks
much better than his first film.
Sanjay
Suri is relegated to the background, while Rakesh
Bapat is pure teakwood.
Among heroines, Namrata Shirodkar essays her
part with admirable ease. Not only does she look gorgeous,
her performance is truly first-rate. Hrishita Bhatt
is alright, but she needs to take care of her outfits.
Sonali Kulkarni is so-so, while Bhavna Pani gets no
scope to perform. Gulshan Grover is quite nice, while
Kiran Kumar is adequate.
On
the whole, DIL VIL PYAR VYAR is an ordinary
fare – not great, not bad either – which
has some chances at select theatres of metros mainly.
Being pitted opposite a big release (HATHYAR) will
hamper its prospects at several centres for sure.
