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2003 l U l 151 Mins l Rating:
Major Ram is one of the few soldiers from the Indian Army who have been held captive in Pakistan, following the war with India. The Indian army and politicians are unable to make any decision so as not to jeopardize the lives of the captives. Major Ram's brother, Arjun, alias Sunny decides to take it upon himself to enter Pakistan and get his brother free. He now calls himself Salman. On the way he meets with beautiful Ruksar and both fall in love with each other. Unfortunately for them, they cannot be married, so they elope, leading to an unrest within their community, and a hunt is on for them. Salman and Ruksar chance upon the prison camp that is housing Ram, and do get him free, only to find themselves trapped by Pakistani Jihaadis and soldiers.
Dil Pardesi Ho Gayaa, Kapil Jhaveri, Saloni Aswani, Amrish Puri, Ashutosh Rana, Mukesh Rishi, Prem Chopra, Raza Murad
by Taran Adarsh | Posted Dec 12, 2003
There's been a plethora of Pak-bashing films in the recent past. And now, when relations between the two nations are slowly limping back to normalcy, you don't expect anti-Pak films to aggravate the situation.
Saawan Kumar's DIL PARDESI HO GAYAA also looks at the sensitive Indo-Pak relations and the conflict amidst a budding romance. Although the film isn't as gripping as Saawan's earlier Muslim social SANAM BEWAFA, DIL PARDESI HO GAYAA does have its poignant moments.
DIL PARDESI HO GAYAA is a love story between an Indian boy and a Pakistani girl.
An Indian army officer [Ashutosh Rana] is kidnapped by terrorists and taken to Pakistan. The officer's younger brother Sunny [Kapil Jhaveri] crosses the border and lands in Pakistan to rescue him.
Once there, he encounters a Pakistani beauty Rukhsar [Saloni Aswani]. Subsequently, love blossoms between the two. At this juncture, Sunny reveals his identity and motive, which shocks Rukhsar.
Rukhsar's father [Amrish Puri], a man of principles and morals, is a Brigadier in the Pakistani army. The love and affection for his daughter clash with his ideals and the Brigadier has to make a choice.
A love story primarily, what makes DIL PARDESI HO GAYAA different from films of its ilk is that the story starts in India, progresses in Pakistan and ends at the Line of Control.
The story of the film is its USP, but the screenplay appeals in spurts. A few individualistic sequences do impress, but the film has its share of loopholes. For instance, the moment the love story begins, the hero forgets all about the mission and starts running around trees.
But the narrative gathers momentum in the latter reels and the climax is sure to catch the viewer unaware. The ending should also be liked, given the current relations between the two countries.
Saawan Kumar's direction comes to the fore whenever the Indo-Pak issue arises in the film. The characterisations of Amrish Puri, Mukesh Rishi and Prem Chopra [all three are Pakistanis in the film] are believable, which in turn makes the film watchable. Also, as mentioned above, the director has refrained from making the two nations indulge in mud-slinging, which comes as a relief.
Usha Khanna's music is a major asset. 'Ek Pakistani Chehra', 'Tu Kaun Kahan Se Aayee Hai' and 'Mera Sona Sajan Ghar Aaya' are the pick of the lot. Lyrically, 'O Shaheedon' is the best song in the enterprise %uFFFD in fact it's amongst the best patriotic numbers heard in the recent years.
Dialogues [Shyam Gupta] are outstanding. It wouldn't be wrong to state that they are the soul of the film. Cinematography [Harmeet Singh] is good. The outdoor locales do give the feel that the story is set in Pakistan.
Kapil Jhaveri does a confident job. He emotes his part convincingly. Saloni Aswani looks photogenic and radiates confidence. Amrish Puri lends class to his role. Prem Chopra steals the show. His presence elevates the second half of the film considerably. Ashutosh Rana is effective. Mukesh Rishi breathes fire in his role. Raza Murad is perfect. Mushtaq Khan and Navni Parihar are adequate.
On the whole, DIL PARDESI HO GAYAA is a fairly engrossing fare. At the box-office, given the tax-free status in some states, the film should reap benefit in those territories.