Sadly, the Tamil remake didn’t fix this either.
#DIL DHADAKNE DO 2015 HINDI MOVIE#
It takes leaf out of Parent Trap for it basic setting but it goes ahead and tires to pull off a wannabe James Bond movie at the end, with a silly ending, shot tackily. But like many previous films of the director, it’s the highly dramatic flashback that ruins a well-meaning rom-com. Bhaskar The Rascal (2015, Malayalam)ĭirector Siddique’s Mammootty starrer was a lovely comedy that works even now. The film goes South quickly: from grandfather Lingaa saving the country using all his money to grandson Lingaa saving his girlfriend using circus tricks. So it’s a bit difficult to be impressed when scenes of this epic sacrifice are followed by a daft climax: his grandson, Lingaa (also played by Rajinikanth), rides a motorbike up a mountain and jumps over a hot air balloon to save the heroine. And he builds a dam for his people at great personal cost in impossible circumstances, in spite of numerous betrayals. The film’s most impressive stretch features the swashbuckling collector Raja Lingeswaran ( Rajinikanth), someone who could put down an English collector with an English punch dialogue. But its climax prevented us from even appreciating it for its kitschy 90s sensibility. It would be hard to dramatically improve Lingaa even if its ending were fixed. This film could’ve been great had both the women decided to dump him instead. Instead, the film’s ending went for the tried and tested Archie-Betty-Veronica story, making Saif Ali Khan’s Gautam entitled enough to ‘choose’ between the two women. It had been a while since a rom-com had come up that was not just modern and fun, but also had something new to say. But it was one of those overall packages – with a promising cast, stunning locations and catchy songs – that could have been great. But does such a soft film require such an ending? Guess it’s more of an acquired taste. But does the ‘twist’ ending disturb the beauty of this film? Was the turn unexpected? Surely. It has lovely moments, great scenes in the rain and a motivational spirit. VK Prakash’s Beautiful, starring Jayasurya and Anoop Menon, really is a beautiful film. This was even more odd considering Mehra’s last film, the rousing and successful Rang De Basanti ends with mass murder. The hero was resuscitated by a miracle but what died was the possibility of a wrenching end to a wrenching film. The spacial dissonance with the empty, dimensionless heaven contrasted with the cloistered, crowded gullies of Delhi 6 was out-done by the narrative dissonance. To have the hero murdered at the end was perhaps too pessimistic, and so Rakeysh Omprakash Mehra, the writer-director, gave in to the commercial narrative trappings and completely turned upside down the hyper-realism of Delhi 6 into a climax with god and white-washed heaven. Two very determined lovers decide to leave their marriages and run away from a society that judges them day in and out, only to have a sudden realization that they are… married? This is followed by a dramatic plane crash that has Amit (Bachchan) turning into a guilt-ridden firefighter. Starring Amitabh Bachchan, Jaya Bachchan and Rekha (and some evergreen songs), this film could have been a game-changer when it came to addressing taboo concepts like infidelity. Yash Chopra’s Silsila remains one of the biggest, most-controversial casting coups ever. But really, was it? Silsila (1981, Hindi) Despite being highly educated and finding the job of her dreams away from her hometown and a seemingly negligent fiancé, she decides to let it all go – including her long lost, but ideal, first love – because that’s the ‘right’ thing to do. But was it remembered for its climax? Unfortunately, not. It had beautiful songs, it marked the debut of the gorgeous Vidya Sinha, and boasted of an opening sequence where the protagonist (Sinha) dreams of chasing a train… which at that time was a novel concept. This Basu Chatterjee film is remembered for several reasons.
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