Cast: Karanvir Bohra, Sameer Kochhar, Priya Banerjee
Director: Lalit Mohan
Rating: * *
A rather vapid attempt to make a ‘Darr’ out of music videos patched together as fantasy elements in a story about obsessive love, this, popular TV actor Karanvir Bohra headlined, family production has a TV serial feel to it. And that’s not surprising when the director has been at work on the TV circuit (Qubool Hai) for a while and this is his very first feature.
In fact, the real peculiarity of this film is the manner in which it has been put together. It appears that Super cassettes had a few hummable numbers sitting pretty and unused in its music bank and the powers that be decided to cash-in on them. The result is ‘Hume Tumse Pyaar kitna’ a hackneyed attempt to herald a ‘true love triumphs over obsession’ love triangle construct.
In this film Priya Banerjee, a Canadian Actress, TV host and Model who starred in films like Ula (Tamil), Kiss: Keep It Simple Stupid (Telugu) and Jazbaa (Hindi) gets to play the beauty with talent, Ananya Tripathi, a novelist whose very first novel ‘Ex-ess Love’ becomes a best-seller and the reason for one obsessive fan, Dhruv (Karanvir) to go all out and eliminate all competition, for her love.
So Billionaire fiancé Ranveer Dhillion (Sameer Kochhar), dutiful friend and confidant, a fashion photographer Ronnie and Nazar Umar Gul, a prominent politician’s progeny and one of her students face the brunt of that obsessive craziness even to the point where the latter two lose their lives. A Hollywood obsessed, filmy dialogue spewing top cop Arun Sherawat investigates the disappearances, arrests Ananya for conniving to send her lovers to the crematorium – before backing up and realising his own folly. Interspersed within this pathetic script are some Urdu couplets by Rumi and Bashir Badr but even their legendary romanticism pales into insignificance here.
The writing is pitifully uneven and discontinuous. The cut-paste editing reveals a distinct lack of forethought in developing this unremarkable jumpy, jerky narrative. Lalit Mohan employs a non-linear format but the TV styled rendition doesn’t allow for any attachment. Santosh Thundiyil’s picturesque capture of Manali may enhance its tourism potential but does little to improve on attachment within.
Priya Banerjee thinks focussing on her bee-stung pout is far more important than contracting and expanding her facial muscles, Karanvir Bohra isn’t able to dig deeper than a series of TV styled profile poses while Sameer Kochhar, though impressive in voice and presence, doesn’t have much to do other than drop-in at momentous moments to rescue the damsel in distress. There’s certainly no tension or attachment here to credit this as a thriller! Johnsont307@gmail.com