3 Deewarein

Directed by: Nagesh Kukunoor

Starring: Naseeruddin Shah, Juhi Chawla, Jackie Shroff, Nagesh Kukunoor, Gulshan Grover

Released: 2003

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

A curious, intriguing movie this is. Amazingly non-glamorous, yet not hyping on any dirt. Lasts little under 2 hours and yet stays with you for quite a while after. Clever and with a twist that you never could expect, but not venturing into an impossible scenario area. As both a sum of its parts and the final product 3 Deewarein is, I feel, severely underrated.

The notorious „bad man“ of Bollywood Gulshan Grover is here a „good man“, leaving aside his comic antics and theatrical villainous acting, trying to run a prison, where the prisoners are treated with humanity and everything is done to support their reformation. But some cases, apparently are beyond help. Three walls are a prison to three death convincts, each distinctly different from one another, but sharing the same lot. And the story serves as a probe to test their mentality and behavior face to face with death punishment and lengthy waiting for it. Nagya (played by director himself), keep believing his innocence would eventually be proved. Ishaan (excellent, excellent Naseeruddin Shah, stealing the show away and being incredibly charming even as a killer) is a sly-operator keeping his cool and plotting his escape. And finally Jaggu (Jackie Shroff) decides to be absolutely stoic, waiting for death as if she was his lover, whom he would welcome with some of his plentiful, melancholic poetry (which he recites so soulfully in his deep sexy voice that everything in me just couldn´t help but to be a Jackie Shroff-fangirl).

The makers did an excellent job in presenting the reality of life in jail and daily routine of the prisoners. When with the characters, you feel indeed enclosed in the same small world they are allowed to exist in, cut off from the world. There is nothing filmi about this prison, neither there is a Hitler-like jailor (waving at you, Sholay) and do not expect a happy song about how awesome it is to be imprisoned (avoid a movie called „Army“ at all cost). Within this atmosphere, both calm and full of anticipation, depending on which of the three condemned prisoners is pulling the story forward, the excellent performances by the actors make an intriguing tapestry of emotions and actions.

The medium through which the plot function though, is Juhi Chawla in a role of a documentary filmmaker. Simply clad, with simple talks, she is not what she appears to be to the world. These days expression „women empowerment“ is being thrown around right left and center, and it is unfair to forget that there have been character in the past that indeed reached the empowerment – Juhi in 3 Deewarein is one of them, as she plays an abused wife who not only decides to satisfy her need for being creative, she manages to win over her husband all by herself too. And meanwhile she is also an avenger. And a rescuer. Her performance is brilliant (and for me personally her best, most intense), her presence among the mournful and pessimist prisoners like a fresh wind. And her despair in scenes showing her personal life nothing less than deeply disturbing.

The movie does not have any songs, but the background score and a lonely, touching melody of a flute, which sounds throughout the prison in the nights, are beautiful. Editing in some of the scenes flawless. There is a bit too much English for my taste, which is one of the minor possible complaints. If you are looking for a really good film, try this one for sure.

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Son of Sardaar

Directed by: Ahswni Dhir

Starring: Ajay Devgn, Sanjay Dutt, Sonakshi Sinha, Juhi Chawla

Released: 2012

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Son of Sardaar is fun. Light-hearted, uncomplicated, straight-forward and most importantly family friendly. It is possibly the only big masala film of 2012 that has no sexual innuendos, no double meaning hints, no gay jokes or raunchy dance numbers. It is silly, oh yes, the amount of silly is quite considerable, and it definitely makes clear yet again that Bollywood action is more and more going South (where gravity means nothing and physics wanders around unemployed) and hence not believable in any way – which in this case ads to the „family friendly“ I have already mentioned, because the „violence“ shown is so over the top you just cannot take it seriously. The major weakness is the very beginning, that may turn many people off, as it is rather cringe worthy. Taking a jump of Big Ben and dancing among a horde of white women in desi clothing (my ears would hurt at how much voices would raise on social websites against such cultural appropriation – and they would be right) and fighting off white goons a minute later made even me considering if I should even bother. But once Salman Khan´s useless cameo is over, things do get better. A lot.

The story has roots in an age old enmity between two rich Punjabi families, who for generations have been slaughtering one another and taking revenges and so started an unending cycle of bloodshed. Until a wife of a recently murdered one decided she has had enough, took her children and fled from India. She saved herself and children, but complicated lives of the other family, of which various members took various oaths: to never eat ice-cream, to never have a cold drink, and to never marry – until the last offspring of the hated family was not killed by their hands. But how to fulfill such promises if the person in question is nowhere to be found? And so there are is no ice-cream or cold drinks for some, and no shaadi for others. For over twenty years.

Then one day out hero Jassi is distracted from his pathetic dancing with white girls in London by a letter summoning him to Punjab because of some inherited land, and Jassi flies down to India with an intention to sell it and then peacefully return. While on his way he meets feisty no-nonsense girl Sukhmit and falls for her immediately. What luck she travels to the same place as he does. And even greater luck awaits it seems: after he looses her on the train station, he runs into Billu, who invites him home, and it turns out Sukhmit is his cousin. But don´t be fooled. The luck is not about finding Sukhmit. It lies in Jassi being within the walls of Billu´s house. For he is the one they want to kill, and they soon find that out. But to harm a guest in any way is just not done. They have to wait for him to step out. And Jassi, completely shocked upon learning the truth by chance, does everything that might delay his leaving.

What surprised me was a simplicity of the plot and settings. Apart from the train traveling at the beginning and some wild chasing near the end everything happens in one place. The plot is also very straightforward, and the filmmakers managed to keep it interesting for most of the film. True enough, some of the scenes could have been shorter, because you do get the idea of what is going on, and after some point you grow a bit impatient and want things to move forward – had film lasted 2 hours only, it would have helped. The songs are put into the film well, but sadly none really captured my interest – and the Po Po song is definitely a product of some really ill mind.

All the involved actors prove they have a great comic timing and talent. Ajay pleasantly surprised me, because I expected him to be an unbeatable machine without a trace of fear, and while he definitely shows that when necessary he will give everyone a lesson, his Jassi was more of an average guy wanting nothing but everyone to get along. Sanjay Dutt too is very good, my only complaint is: why did he have to look so bad? The styling was just horrible – and made me question who would wait for over 20 years to marry him? Especially if the bride herself is the beauteous Juhi Chawla? 

Now, Juhi in this film you either like or hate. And it is really up to how you decide. Indeed, I felt like I was put before a choice. Because I could say she was a delight to watch, a sweetheart and a cutie, who deserved more screenspace and I would mean it. And at the same time I could say she was over the top and took it to the annoying level, and it would still be kinda true. But I was happy to see her in a mainstream film after so long, so I largely go with the first. Sonakshi is the weakest of the four leads, which is no insult to her, since all are seasoned actors who have proved themselves numerous times in the past, at the same time Sonakshi definitely sells you Sukhmit as a real character, and that goes to her credit. Although yeah, she looks like Ajay´s daughter throughout.

And so I ended up nearly loving Son of Sardaar and cannot understand all the hate it got.

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Daraar

Directed by: Abbas-Mustan

Starring: Rishi Kapoor, Juhi Chawla, Arbaaz Khan

Released: 1996

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

A very good thriller, Daraar is actually just one of the three (or perhaps more?) Hindi remakes of successful Hollywood film „Sleeping with the enemy“, that had Julia Roberts as the main lead. I have not seen the third one (Agnisakshi – that is promising to be a real thrill ride by just having Manisha Koirala and Nana Patekar) as yet, and so I have only Daraar and Yaraana (1995) to compare. Daraar is easily superior as a movie overall, although both films have painfully unnecessary humour subplots and Rishi Kapoor in his acursed awkward 90s phase as a very unlikely hero. Other than that a several more plot holes the Abbas-Mustan duo did a good job with the movie.

When awkward looking Rishi, playing a bohemian and popular artist (as he often did in films where he was named a hero but was pretty much just a prop) spots a beautiful, fresh Juhi Chawla running with her little lamb among the green hills, he immediately falls in love. After a time full of her rejections, because she obviously is not excited about a man in her life, and Johnny Lever tomfoolery, she finally accepts Rishi and the two start planning a wedding. But then it turns out that Juhi has a dark secret – she is already married. 

"I married Khan. How can I go for the Kapoor now?"

Indeed! Much before Rishi it was a debuting Arbaaz Khan who flew into her life in a helicopter and absolutely enchanted her with wild dance moves on a sunny beach and later among casino roulettes. So much she married him. But soon after moving into his house, which is cut off from most of the world, one gets a hint that something may not be completely OK with the guy.

Not only he hates untidiness, but he quickly turns out to be obsessive, possessive and jealous sadist, who beats his wife should anyone even see her through a window. And so Juhi finds herself locked in a perfectly tidy and neat house with nothing but perfectly positioned pillows on the sofa. And to her utter horror her neighbour, a doctor completely ignorant about how mental that guy next door actually is, comes for a visit. This results in her being yet again severely beaten – and doctor killed. 

Husband of the year.

Scared for her life Juhi manages to run away, even successfully faking her own death so she has certainty her psycho husband will not look for her. But as soon as she can breathe in peace, she meets Rishi.... who paints a portrait of her..... and it is published in the newspaper....

Juhi was really amazing in the second half (as in the first Rishi and his dream-sequencing took most of the time), and unlike in Darr where I found her innocent damsel in distress disappointing, she actually does something for herself. She is both vulnerable and powerful, and yeah, she looks gorgeous. Her portrayal of the abused woman, who simply decides that enough is enough, is extremely sensitive and believable. She breaks your heart pleading with her husband as he prepares to give her a beating, you fear for her in her plight, and you are proud of her once she faces him, tired of endless running. Her pairing with Rishi is plain weird, but in the end ALL 90s actresses with Rishi are weird. Arbaaz was a damn psycho. He just looked menacing and creepy, and as long as he didn´t speak I thought him brilliant. His dialogue delivery though....ouch. The guy is just so emotion-less.

The ending however takes away from the movie. So after EVERYTHING he did she is all bonkers about saving him? Ok OK OK. So we just POSSIBLY MAYBE could explain that one. But he suddenly turns a good guy? That absolutely didn´t fit. In this one aspect I found Yaraana´s ending much more satisfying and plausible - with the heroine herself actually stabbing Raj Babbar and than laughing and crying at the same time (of course Rishi Kapoor had to be the one to finish him off completely, as that apparently was a man´s job).

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Tum Mere Ho

Directed by: Tahir Hussain

Starring: Aamir Khan, Juhi Chawla

Released: 1990

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Tum Mere Ho is one of the movies trying to ride the wave of popularity which had swept Aamir Khan and Juhi Chawla post their not-exactly-debut-film Qayamat Se Qayamat Tak. Both were fresh faces, young, attractive and with notable acting talent, and their pairing was hugely appreciated. No wonder that as soon as the Qayamat fever washed over there were other projects offered to the couple, but sadly none up until Hum Hain Rahi Pyar Ke in 1993 managed to do justice to anything Aamir and Juhi related – be it their acting or chemistry. Tum Mere Ho is also, at the same time, one of the most bizarre films I´ve seen. Entertaining in a way, but ultimately falling into the category of unintentionally hilarious.

I mean..... what the hell????

The films opens with a ridiculously shot scene which is supposed to be dramatic and mysterious, yet manages only to confuse and provides one of the many WTF moments the film is full of. A shapeshifting magic snakes are nothing new in Indian films, however I´d like to keep thinking that when in human form, they look like Sridevi in Nagina, not like the lady in this film, dressed as if she was ready to attend the new Savage Garden concert. In any case, the story goes as follows: greedy guy kills a snake, believing he´ll get some secret treasure, but only manages to really annoy its mate (the shapeshifter), who, to get even with him, bites his small son. Doctors are hurriedly summoned, but alas! Too late! They proclaim the child for dead and send his body floating in the river (I´m not really familiar with Hindu rituals, but..... aren´t you supposed to burn the dead body and dispers the ashes???). An old man finds the child in the water soon afterwards and unlike doctors, who should apparently immediately go back to medical school, finds out the truth!

Indeed - the kid is alive and kicking. He keeps the boy with him, naming him Shiva, and raises him to be – very conveniently – a snakecharmer and sorcerer who, by wielding an old bone, can control flying skulls and do magic (yes, you heard right). 

I shall have this expression till the end of the film.

One day on a fair the handsome and poor Shiva meet beautiful and rich Paro and love blossoms. Are you expecting the old boring twist of her parents disapproving and that being all? How wrong thou areth! Yes, daddy is not happy, he even hires another totally ridiculously styled magician to kill Shiva with his magic lute, but when that fails, showing that obviously unless the lute would be used to beat the guy to death it´s good for nothing, he has Shiva severely punished and then comes the biggest shock of all – he reveals to his daughter that she is not allowed to love, because she is – a widow! She was married off when three years old, but her husband (of the same age) died after being bitten by the snake few days later. And her parents did what every parent would do. Raised her without ever telling her anything about it until the day her in-laws would come to take her to live with them. Because that, apparently, would not cause the girl any distress. Oh, if only there was a guy bitten by snake as a child nearby..... righ?

Juhi being all pretty of course.....

Devastated Paro does what all Bollywood girls do when they want to protect the guy they love – she totally breaks his heart by telling him she never loved him. He, in return, sings a song about betrayal to her in public, and then they part way, seemingly forever. Many tears and more tears later Shiva finds out Paro actually does love him, and follows her to her in-laws. From there it´s more and more naive and silly and WTF and shapeshifting snake lady makes a ridiculous return only to participate in a ridiculously grand „action“ scene with Aamir vs. flying snakes near the very end. Finally all falls into place (in the story, not for you as a viewer), Shiva is recognized by his parents, and considering the heated scenes he and Paro shared throughout the film (with and without clothes, some serious belly kissing involved – which both rather surprised me), I guess they did not bother with marrying again and..... lived happily ever after.

"Do you want a viper or a rattle snake as a wedding gift?!

"I think I hate you for real."

To be honest, even though I´m not against "magic" in films, this one made me shake my head in a complete disbelief, especially at the beginning, as I was really not expecting it. Unlike Nagina, where the supernatural is presented wonderfully "realistic", here it is anything but convincing. The whole necromancy bit was unnecessary and presented without a bit of mystery or thrill. Juhi was great, second half was her time to shine, at least in whatever she was given by a weak script. Aamir was good too, though most of the second part he spent sitting under a tree playing a lute more then anything else. Seeing them together was of course a pleasure, one just wishes the director would have understood what opportunities he had in his hands. He, however is not the only one we could complain about when it comes to wasting Juhi/Aamir jodi. Except for Qayamat Se Qayamat Tak and Hum Hain Rahi Pyar Ke none of their films together were good. Pity.

Thanks filmmakers. I wouldn´t have guessed the guy was evil if he wasn´t wearing that skull on his T-shirt.

I liked music, especially the title song, which is rather melodious. However the boys vs. girls dance in the snakecharmer´s village caused another huge WTF moment with all the "violent" slapping throughout. The explanation that „our girls like men who can slap them and control them“ did not go well with my feminist side.

In spite of all I actually felt entertained, so I do not regret spending my time watching the film. All in all - trashily epic. I guess this is one of those films Aamir Khan never talks about.

"Why should I? I never made this film. Go watch Lagaan now."

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When your favourites disappoint

They say you only are a true fan if you are willing to suffer through your favourite´s god-damn-awful filmography. Bad films happen. To everybody from Dilip Kumar to Akshay Kumar. Sometimes they are not even really that bad, but somehow disappointing and weak. Some of such films of some of my favourite actors to follow.

Jodi Breakers

Directed by: Ashwini Chaudhary

Starring: Madhavan, Bipasha Basu, Omi Vaidya

Released: 2012

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

I tried to watch the film before, but turned it off after first 15 or so minutes, but then I told myself I may not want to be as harsh, after all Madhavan is my teddy-bear. Sadly his presence doesn´t save the film, and the character he plays is actually one of the most annoying loosers I´ve seen on screen. Bipasha is way too unbelievable with her innocent act and the two have no chemistry. The film has one of the dumbest twists (and resolves) ever. So he destroys somebody else´s marriage so his ex-wife can get a rich new husband and he gets his car back? Really? And I am supposed to root for this person? And frankly I didn´t see s single reason what would Sid need Sonali as his partner anyway, thus even the basic plot doesn´t really make sense. To top it all Omi Vadiya was completely annoying as a sex God from the high heavens. In one word: lame. Why was Helen in this?

.....

Paa

Directed by: R. Balki

Starring: Amitabh Bachchan, Vidya Balan, Abhishek Bachchan

Released: 2009

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

I guess some films are just overrated. After having a shock from rather awkward subtitles narrated for whatever reason by Jaya Bachchan, I was kept waiting .... and waiting for the awesomeness praised by the critics to appear, but it never did. The story deals with a very sad issue of progeria, a rare disease causing the body to age before its time – and that very rapidly. The main character, a twelve years old boy Auro, suffering from the condition, actually has a body of an 80 year old. And what more – he doesn´t have a father. Or rather, doesn´t know him. After all this father did not want a child and only because Auro´s mother refused to go for an abortion and left her partner was the child born. The fate however brings the family together again. Everybody in the film does an OK job. From Abhishek to Amitabh, who did not really understand what age he is trying to act. Instead of a 12 years old his handling of the character made Auro seem like barely 7 years old boy. He did well, don´t get me wrong, but nothing overly impressive. I had the same problem with Sridevi in Sadma, where she is supposed to act like 7 years old, but instead gives an impression of a four-year-old, and that does a hell lot of a difference. Vidya is the best of the lot, but is criminally deprived of deserved screen time by the male protagonists. If anything the movie should have been named Maa, because what I took from the film was really the assurance that love of a mother is above everything.

.....

Bhootnath

Directed by: Vivek B. Sharma

Starring: Amitabh Bachchan, Aman Siddiqui, Juhi Chawla, Shahrukh Khan

Released: 2008

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Not one, but two favourites included – Shahrukh and Juhi – and yet... oh Mr. Sharma this is a perfect example of wasting great acting talent. When you have actors like this you don´t give all the screentime to a kid. Bhootnath is a fine film for children, but far from a great piece of cinema the director presents it till this day.

Shahrukh, the freakingly handsome in his white uniform sea cruise captain moves his wife and son into a new house, not caring everybody says it is haunted. He promptly leaves and his wife invests all her time to attempts to make the new living space more comfortable, while their son soon discovers the house is indeed haunted by a grumpy and dirty old ghost. In no time, they become friends. There are way too many question concerning the ghost (sometimes he can´t touch things, sometimes he can, he apparently eats and can shave and wash..... way too many supernatural powers for one sad soul if you ask me, and pretty much defying everything one would imagine when it comes to ghosts), but I guess children wouldn´t really mind. However the kids should not be too demanding. There is nothing scary or hilarious about the story and the situations shown. See, I don´t even know what else to write. Watch and forget movie.

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Andaz

Directed by: David Dhawan

Starring: Anil Kapoor, Karishma Kapoor, Juhi Chawla, Kader Khan

Released: 1994

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Many years before Farah Khan brought to life Main Hoon Na that revolved around a college and terrorism, there was David Dhawan who created a movie based on the two as well. Main Hoon Na is not even remotely a copy of Andaaz, as the two stories are different, and where Farah Khan´s movie changes easily from comedy to family drama and action flick, David Dhawan stayed faithful to what he could do best and maintained the light spirit throughout, yet still I found it curious that the two movies have the same feel. Main Hoon Na, aspiring to be a modern day classic in my book, is of course far superior to Andaaz in every department, being a slick, polished and witty massala of the memorable team Farah-SRK, while Andaaz is what it is: a typical 90s movie with loopholes, bad cinematography and Shakti Kapoor.

Anil Kapoor armed with his trademark moustache and wearing glasses (signifying he is a civilized and educated man this time) comes to a college as a new teacher, however his peaceful nature and young age make him a favourite target of student jokes and tricks. One of the girls in particular disturbs his inner balance – Jaya (Karishma), who, after pulling a practical joke on him, seems to annoy him with every single thing. Anil puts up with everything up until the moment he finds an „I love you“ note addressed to him. He gives it to Jaya (as he believes it was her sending it) without much of an explanation, and thus starts an avalanche of other similar notes. Unknown to him it was not her who sent them, but one of other students trying to avenge for previous punishment, and while Anil thinks he is love object of Jaya´s, she in return believes she is his, building this belief on the I love you notes he keeps giving her „back“

The film is also an unashamed eyeglasses porn.

When truth comes out it is already too late for Jaya, who is head over heels and for real in love with the teacher, and in order to gain his affection leaves the school and moves next door, only to be rejected again and again. Until finally Anil decides to bring home – a wife! Marrying in a hurry he chooses Juhi Chawla in an orphanage, with a conviction him marrying will shoo Jaya away forever. Originally he wanted a woman who could cook, sing, be educated. Juhi is none of that and quite useless, however Anil is not angry for long because she still possesses the erotic female parts and basically the whole second half of the film could be called „The tales of a horny husband“. One song in particular made me stare at the screen in a complete disbelief of what was actually happening! The first 13 seconds will be enough for you to understand!

Karishma, who dominated the first half completely, being adorable with her huge eyebrows and frizzy hair, is immediately sidelined not only by her love interest (now interested only in jumping into bed with the wife at every single opportunity. Compared to the latest Dhawan movies it was all still innocent, which can give you an idea of how distasteful are his films now.), but also the script, which is a shame. Her character henceforth doesn´t really make much sense and looses all the appeal.

You may be wondering by now where the terrorists fit in. They don´t fit in at all – and yet they are present. The „action“ subplot is limited to about three or four short scenes during the film, only to overwhelm it in the last 15 minutes, and basically holding no importance at all. In fact the whole terrorist thing is just a way how to get rid of Jaya in the end.

Let´s get laid darling.

Let´s get intimate!

Actually, let´s get kinky.

I really enjoyed the movie (after all I love myself some 90s with all the cringeworthy stuff and guilty pleasures they represent).It is one of the few rare pictures where I didn´t cringe at Anil Kapoor´s comedy, maybe because he kept the acting rather calm and came of much more convincing than his usual let´s be as loud as possible and let´s put my head forward and bulge my small eyes way of acting „funny“. The ladies steal the show from him (I guess after working with Madhuri and Sridevi he was used to that already anyway), Karishma breathes the life into the story in the first part, Juhi with her gorgeousness and comic sense nobody can match takes over in the second, in spite of being given just an extended cameo. She was a pure delight to watch and left me longing for more.

It´s no Main Hoon Na for sure, but it is worth a shot if you are looking for something fun or if you are missing the naughty but not yet completely over the top vulgar David Dhawan.

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Hum Hain Rahi Pyar Ke

Directed by: Mahesh Bhatt

Starring: Aamir Khan, Juhi Chawla, Dalip Tahil, Sharokh Irani, Kunal Khemu, Baby Ashrafa

Released: 1993

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Hum Hain Rahi Pyar Ke made me genuinely happy. For many reasons. The main being the fact that Juhi Chawla actually had a role. In most of her mainstream films I´ve seen so far she was largely used as a decoration, excuse for a song or damsel in distress, be it in Darr, Duplicate or Bol Radha Bol. However here she got her due and she truly used every second to her advantage.

Young Rahul (AAMIR Khan. AAMIR. Not SHAHRUKH. Understand?) has just inherited a textile factory saddled with debt plus three kids from his tragically deceased sister. He tries his best to get on well with the children, but managing them and the factory proves to be rather difficult, especially since his workers are all women making eyes on him and dancing instead of working. Ad to it a hungry for shaadi rich daughter of a man you´re making a commission for and what do you have? A big load of trouble. Nobody seems to understand the man´s plight and the kids are getting more and more insufferable by day, drawing away all nannies with their pranks.

Run over by life........... and children.

After Rahul breaks his promise of taking the children to the fair and locking them in the house the three siblings – Vicky, Munni and Sunny – run away through a window and completely rupee-less make their way to the fair. While trying to steal some sweets, they bump into Vaijanti, a young girl, at the moment engaged in the same illegal action. Together they all manage to escape the policeman and upon hearing that Vaijanti has nowhere to go, the children practically smuggle her home, where she spends two days hiding before their strict uncle. But nothing lasts forever and after a rather eventful night Rahul finally finds out there are not three, but four people he needs to look after now. Especially since Vaijanti makes up a story about being a poor orphan, while in fact she has run away from home and a rather sleazy groom...

No better place to hide from the police then a center of a stage.

Hum Hain Rahi Pyar Ke breathes innocence from the beginning to the end (despite that horny girl chasing Aamir). Its magic doesn´t make differences between generations and I can easily imagine seniors, children or adult people watching it and having a good time. It has everything – fluff, fun, romance, action – but everything is still very much innocent and even the slight thrill before the ending is delightfully funny. Great surprise were the three children. It is one of the very rare films where I did not feel the need to strangle them for being artificial and annoying – because they were not. They all did a good job without being too giggly or too weepy.

Even Juhi was shocked at the non-annoyance of the kids.

Aamir Khan is also very good. Watching this film after Lagaan and 3 Idiots I was reminded of how much I loved this old Aamir, who used his instinct more then his head (as I like to lament in every review which concerns him). Hum Hain Rahi Pyar Ke has him in a rather difficult role of an uncle, who does his best to satisfy the children, but fails with his methods, which sometimes are not exactly right, and sometimes he has to face a selfish misunderstanding by the trio. Aamir made his character look real, and even in the moments, in which he is unlikeable to the children, he manages to convince you that he wants their best and is just utterly helpless from time to time.

Can we have them in a film again please?

However, as I have mentioned earlier, the film ultimately belongs to Juhi. Because she is the soul of all things. She is the active (!) reason of things happening. She is the fun. She is that innocence I loved. I´m sure other actresses would have done a good job too, but I seriously doubt any would bring it to Juhi´s level. Such was her natural charm and comic sense in this one, and she truly deserved that Filmfare she later received. Looking sweet and simply throug-out the film she makes you smile with her mere presence. This is definitely my favourite film and performance of hers, no matter how much more „meaningful“ stuff she was appreciated later in her career. Ad to it she´s acting opposite Aamir (my favourite of her pairings), and you are left with a feeling of bliss.

Not blissed out just yet.

Part of the movie´s appeal lies also in music. Every single track is beautiful and there is pretty much everything from fun songs to romantic and family ones. The following is my favourite, which really stuck in my head and I find myself humming it from time to time.

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