The Film: Main Prem Ki Deewani Hoon
Producer: Rajshri Productions
Director: Sooraj R Barjatya
Music: Anu Malik
Lyrics: Dev Kohli
Starring: Hrithik Roshan, Kareena Kapoor & Abhishek Bachchan
RATING: 4.5/10
Rajshri Productions (P) Ltd.'s Main Prem Ki Diwani Hoon is a love triangle, not made in the typical and traditional Rajshri mould. Sanjana (Kareena Kapoor), an independent girl of the 21st century, resents it when told that a boy, Prem (Hrithik Roshan), was coming from the US to see her and judge whether she is a suitable matrimonial match for him. Her resentment soon gives way to love and the two become great friends and greater lovers.
All hell breaks loose in the lives of Sanjana's parents when they learn that the actual Prem (Abhishek Bachchan), who was supposed to meet their daughter, had been held up abroad and that the Prem they had mistaken for the real Prem, was only an employee in the real Prem's huge business empire. While the father would like his daughter to marry the Prem whom she loves, the mother forces her to forget her love story and embrace industrialist Prem. Torn between the two Prems, Sanjana finds herself in a situation no girl would ever like to be in.
The film is heavily inspired from the banner's own small-budget hit, Chitchor (released in 1976). While the predictable story is the same as that of Chitchor, the presentation is completely different. This new version is far more rich, far more modern and, unfortunately, far less pure and far less appealing! The beauty of Chitchor was its simplicity. The simple truth about Main Prem Ki Diwani Hoon is that it doesn't ring true in today's time and age. If the characters were simpletons, it would've worked very well but at least two of the three main characters, Sanjana and the first Prem (whom she loves), are not as gullible and simple. Resultantly, the viewer's heart doesn't go out to them as much as it should have, to make a substantial impact.
The first half of the drama is loud and while it entertains at places, it bores at more places. There is too much effort on the part of employee Prem to endear himself to the family of Sanjana. A section of the youth audience would definitely like the pre-interval portion because of the modernity but there would be a whole section of audience who would find it very average, may be even bad! Chopping off entire scenes or reducing their length could help. For instance, the 4-point formula to judge a prospective groom's character doesn't make any sense and the entire sequence relating to that needs to be cut. The Valentine's Day sequence would impress a minority but test the patience of the majority.
In fact, it would not be wrong to say that the by-now famous Sooraj Barjatya touch is completely missing in the first half. Several comedy scenes fall flat, emotional scenes fail to strike a chord in the viewer's heart and the romance which develops, simply doesn't fill the heart with joy. Had it been any other film, these shortcomings may not have appeared so pronounced but because it is a Sooraj Barjatya film, the deficiencies get underlined. At interval point, the audience is convinced, the Barjatya magic is missing, missing, missing!
And why so? First and foremost, because Sooraj Barjatya has burdened a simple story with unnecessary grandeur and modernity. This very story may have appealed a great deal even today if it was presented in a small-budget film. Secondly, Sooraj appears ill at ease while sacrificing his brand of filmmaking. The genius didn't need to do it, more so because people have started associating a certain kind of cinema with the Barjatya name. Change is a way of life but the cardinal principle is - don't do what you are not comfortable with. Sooraj is quite obviously uncomfortable with scenes of sex, kissing and bathing in the shower. Also, these things clutter rather than enhance the story.
After interval, the film comes on the more endearing Barjatya track. The arrival of the real Prem (Abhishek Bachchan) on the scene is welcomed with a round of applause by the audience. The characterisation of the real Prem is superb! The subtle manner in which the introverted Prem's behaviour has been shown to undergo a change deserves full praise. However, Sanjana's character comes across as a frivolous one at times. For instance, her not wanting to marry employee Prem initially, just because he likes things like river-rafting and under-sea diving shows how weak her reasons are. For, none of the things she talks about are character-defining.
The second half gives scope for emotions. Some scenes would draw tears from the eyes of the soft-hearted. Still, because the romance in the first half is not exhilarating, the pangs of separation in the second half aren't as evocative. Besides, strange as it may sound, the characterisation (and performance) of industrialist Prem is so wonderful that half the audience wants him to marry Sanjana when, actually, the story demands the audience to root for the other Prem. A classic case of becoming a victim of one's own brilliance!
The typical touches of Sooraj Barjatya do appear in the second half, especially in some tender and emotional moments of the drama.
Dialogue, which should've been the high point of the film, range from average (most of them) to very good (some). Background score, which has been a major asset of earlier films of the writer-director, falls short of the requirement.
Hrithik Roshan, as employee Prem, overacts in many scenes. Although he has looked fabulous and has danced oh-so-gracefully, his performance is marred by his over-enthusiasm. The feeling one gets is that he is trying too hard to impress. There's no subtlety in his performance except in the couple of emotional scenes he has, in which he scores. Part of the blame for his poor show would also go to the director who should've kept him in check.
Kareena Kapoor gives an endearing performance. Looking gorgeous, she is especially superb in emotional scenes and carries a good part of the film on her shoulders. A couple of her comic scenes are also very nice. Her dances too, are a delight to watch.
Abhishek Bachchan, as industrialist Prem, springs a heavenly surprise. Restrained and reticent, he delivers so remarkably that you fall in love with the guy. To his credit (and that of the director), it must be said that although Abhishek doesn't have a single dramatic scene, he leaves a lasting impression in the viewers' minds.
Johny Lever is lovable and entertaining, providing good relief after interval. Pankaj Kapur is just too wonderful. Himani Shivpuri also shines as his wife. Reema is restraint personified. Tanaaz Currim is cute. Kunal Vijaykar and Upasna Singh's comedy is fairly good. Vrajesh Hirjee is wasted. Raju Shrivastava, as the household servant, and Hemaakshi irritate (is it always necessary to show servants?). Arti Avasthi, Kusumit Sana, Parizad Kolah and Ritu Kambow make average friends of Kareena. The parrot and the dog don't entertain too much except, perhaps, the kids. Shubha Khote, Farida Jalal, Ruby Bhatia and Jaaved Jafferi lend the required support.
For a maker of his calibre, Sooraj Barjatya's direction leaves something to be desired. Judging by the yardstick of his previous hits (it is bound to be so), his scripting and narration are fair, at best. Yes, some touches are masterly but they aren't enough in a 3-hour-17-minute film. Which brings one to the editing, which is loose. If the filmmaker doesn't re-edit, exhibitors would pick up the scissors and may end up doing a shoddy job. The last scene (friendship day) was unnecessary. Worse still, it comes after a hurried and uninspiring climax. A couple of songs can easily be deleted/shortened and several sequences, reduced in length. Overall, the film can very safely and advantageously be shortened by about 15 minutes.
Anu Malik's music is very good but that one runaway hit song is missing. There is also an excessive number of songs. 'Chali aayee', 'Bani bani', 'O ajnabee' and 'Ladka yeh kehta hai' are excellent songs. 'Kasam se' has tremendous lyrical (Dev Kohli) and situational value. 'Sanjana' is also appealing. Song picturisations (Jay Borade) of 'Chali aayee' and 'O ajnabee' are the best. Rajan Kinagi's cinematography is first-rate as usual. Sets are a bit old-fashioned. Digital special effects (Crest Communications) are alright. Production values are rich.
On the whole, Main Prem Ki Diwani Hoon will fare differently in different circuits, proving to be good-average. Mainly meant for the youth, ladies and city audience, it will do the best business in Bombay, followed by circuits like Rajasthan, but its performance in territories like C.P. Berar, C.I., Mysore etc. will be less encouraging.
Since the producers themselves are the distributors, they will definitely make money on the strength of non-theatrical rights and performance in the stronger circuits, especially because the film has taken a bumper opening. Re-editing will help a lot.
