Love is a journey... not a destination!
Yashish Enterprises' YEH RAASTE HAIN PYAR KE, directed by Deepak Shivdasaanii, tells the story of Vicky (Ajay Devgan), a thief, con man, habitual gambler, who believes that the colour of money will change his dreams. He had no emotions in life, but his life changed dramatically one day.
It tells the story of Neha (Madhuri Dixit), a naive, beautiful, innocent married girl. She knew only one destination of life – love for her husband. But things became different one day.
It tells the story of Saakshi (Preity Zinta), who is a true friend, but impulsive by nature, lethal in her relationship with the man she loves. She believed, her love for her man was not only a journey, but the ultimate destination.
What happens next?
The story of YEH RAASTE HAIN PYAR KE is an amalgamation of three successful flicks, KHILONA (Sanjeev Kumar), DUSHMAN (Rajesh Khanna) and DAAG (Rajesh Khanna, again!). The plot is not new, but the treatment is. The director and his team of writers have come up with certain interesting twists and turns that give an altogether fresh look to the story. And the outcome is motivating!
The first half of this enterprise is run-of-the-mill and lacks the intensity to keep the viewer's attention glued to the goings-on. If truth were told, the initial reels are cyclical, with the writers offering the same old cliched stuff that has been witnessed time and again in umpteen potboilers.
But the story and the narration take a turn for the better in the second half, when Ajay returns to Madhuri. The sequences thereafter are well executed and it is evident that the emphasis is on story.
Director Deepak Shivdasaanii has handled a couple of sequences with aplomb. Though the film gives the impression of being a routine love triangle, it is to the director's credit that he has narrated the story without deviating to the oft-repeated path in the second half.
The scenes between Madhuri and Ajay and also between Ajay and Vikram Gokhale are expertly canned. The climax is hackneyed, but gains momentum the moment Madhuri comes to terms with reality.
Sanjeev-Darshan's musical score is passable, although at least two numbers get a boost due to the picturisations – 'Jo Pyar Karta Hain' and the title track, which is picturised in Malaysia. Cinematography is alright.
YEH RAASTE HAIN PYAR KE belongs to Madhuri Dixit, who delivers an incredible, flawless performance. The actress looks every bit the character she portrays and proves yet again that she is a powerhouse of talent. There's no denying that her performance uplifts the goings-on to a huge extent.
Ajay Devgan is just about okay. Preity Zinta is mediocre as well. Sunny Deol, in a special appearance, is lovable. Amongst character artistes, Vikram Gokhale and Smita Jaykar (in a brief role!) stand out.
On the whole, YEH RAASTE HAIN PYAR KE is a pleasant surprise for those who aren't expecting much from this enterprise. The film has an engrossing second half and Madhuri Dixit's winning performance as its fine points and the fact that it has been sold at a reasonable price, will take the film to safety. No new release in the coming week may also help.
Jaya Bachchan lauded Lajja as a brave effort. We’re yet to find out if the comment was on the film’s merit or the filmmaker’s courage in holding together a rather cooped up casting coup.
Everyone present at the film’s promotions were unanimous that Raj Kumar Santoshi indeed had a phenomenal task of keeping the leading ladies happy.
The heroines seemed to have little regard for his Lajja: they refused interviews; came down a good hour late for the Press Conference, which was more of a mooh dikhai, keeping the filmmaker on edge with apprehension.
Rekha and Manisha Koirala seemed to have raided a common wardrobe: with Rekha in a black trousers and jacket and Manisha in a more feminine version of the suit. They didn’t have much to say with Rekha reneging on the very premise of the film - justifying why she’s keeping mum, she replied with a puzzling ‘‘women are meant to be seen not heard.’’ Don’t know if we imagined it but the vibes between director and cast were hardly warm, with the director shooting pleading glances at the heroines to hold it just for a few minutes longer.
Even for the party at night, both Rekha and Madhuri gave it the skip. Santoshi had only Manisha (with mummy in town). Her companion was Ajay Devgan, making another sartorial blunder (the morning saw him in a belly-button showing tank top) wearing a black vest with cargos.
