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Hamara Dil Aapke Paas Hai

Source: Sify

Critic's Rating: 19/5

Friday 10 August 2001

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Movie Title

Hamara Dil Aapke Paas Hai

Director

Satish Kaushik

Star Cast

SATISH KAUSHIK always manages to find the most convoluted way to have his actors say the three simple words I Love You. In an earlier film they said Hum Aapke Dil Mein Rehte Hain and now they say Hamara Dil Aapke Paas Hai both of which have become the titles for his films. Wonder what the name of his next film will be?

But to talk of this film Hamara Dil Aapke Paas Hai, this is a regressive film that intends to keep women firmly in their place - at their man?s feet. Aishwarya Rai witnesses a public murder at the hands of a known goon - Mukesh Rishi, and is the only person to agree to appear in court. Instead of respecting her decision and keeping her identity secret or providing her with protection, the police point her out to the criminal.

Myth No 1?..Mukesh Rishi?s brother, Puru Raaj Kumar, rapes Ash figuring that just like in countless other Hindi films, this will keep her quiet. She does, thus reinforcing the first myth. When she leaves her family after having been roundly cursed by them, she is shunned by the society till a man with a social conscience, Anil Kapoor, takes her in.

Myth No. 2?..A woman needs a man to look after her. Anil falls in love with her, because of her caring and nurturing nature. Before he leaves in the morning she hands him his mobile, wallet, handkerchief, car keys etc and looks after the two children who live with him. But he only realises her worth, because the other inhabitants of the colony have begun to talk. She refuses to marry him because she doesn?t consider herself worthy of him.

Myth No.3......and almost pushes him into the arms of his childhood friend, Sonali Bendre, who has returned from America. The stage is now set for tears, as Aishwarya the poor thing, cannot acknowledge her love for Anil, and then later is emotionally blackmailed by his mother into not doing so. Everyone joins in with copious tears as Sonali, Anil`s mother Smita Jaykar and Tanaz Currim contribute to the joint cause.

Surprisingly, Aishwarya`s closest friend Tanaz Currim does not know anything of the rape even though it appeared prominently in the next day?s newspapers.

Finally, the right girl goes to the right man, the bad men are beaten to pulp by the hero and the families are united. Moreover, all those virtual comedians stop ogling at other men`s wives and learn to be happy with their own. With so much of regression around, it is no wonder the actors too behave as if they were in a 70s South Melodrama.

Anil Kapoor is sincere, but time has now passed him by and he looks too old to be playing the lover-boy albeit MBA passed. His words, not ours! Is there such a thing as MBA failed? After all if he and Sonali are childhood friends and Sonali is 20 he would be about 23 or 24. For heaven`s sake, that is as long as he`s been acting. Aishwarya Rai once again messes up her performance.

She has three standard expressions and she repeats them all the time. The delicacy and sensitivity of the role is completely lost on her. One might argue that a confident girl like her does not understand the humiliation and trauma of rape, but then that is what acting is all about. Finally, it is Sonali Bendre who brings some fresh air into the film, but after a while even her `cute` number begins to bore. Tanaaz Currim does exactly what she did in Kaho Na Pyaar Hai, no more, no less.

The supporting cast has been given too much of footage and they are awful. The comedy track has been needlessly stretched. All of them, be it Anupam Kher, Johny Lever, Jaspal Bhatti, Himani Shivpuri or Upasna Singh are big bores. Mukesh Rishi and Puru Raj Kumar do their job, of villains, effectively. Satish Kaushik has tried to balance the film?s emotional content with comedy and action. This would have been okay if the comedy were not so vulgar. Unfortunately the film neither entertains nor thrills nor moves you. Sanjeev Darshan?s music score is uninspiring and so is everything else about the

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