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Dil Pe Mat Le Yaar
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'Dil Pe Mat Le Yaar' Tale of a small town boy in the big bad world

By N K Deoshi
Film critic, ApunKaChoice.Com

It’s funny. It’s disturbing. It is about a village bumpkin’s misadventures in a mega polis.

Dil Pe Mat Le Yaar is director Hansal Mehta’s second brave attempt after Jayate to redefine popular cinema by imbuing it with realistic entertainment.

Apart

from a promising cast of Tabu and Manoj Bajpai, the film brims over with underexposed talents. Hansal has put a lot of trust in not-so-well-known actors like Aditya Srivastava, Kishore Kadam, Divya Jagtale and Saurabh Shukla. Vishal’s delectable score is another highlight of the movie.

Saurabh Shukla whom Mehta describes as ‘Indian Danny De Vito’ has come up with a witty script, which, coupled with laudable performances by Tabu and Manoj, make the film worth watching. Manoj’s theatre background and the fact that he doesn’t wear attitude on his collar make him a moldable actor. The ease with which Bhiku Mhatre got under the very skin of a village bumpkin is quite commendable.

Ram Saran Pandey, a rustic simpleton from Jaunpur comes to Mumbai with empty pockets and a suitcase full of dreams. Living in a sleazy chawl with a genial company of seven like-minded people and working as a motor mechanic he makes the ends meet.

Now when our Jaunpur ka bhaiiya is a motor mechanic, it is obvious that some pretty damsel’s car is bound to break down at an unlikely hour. In one such chance meeting Ram Saran is clean bowled by a beautiful journalist Kaamya Lal (Tabu) who has a penchant for human-interest stories.

Impressed by Ram Saran’s innocence, honesty and rustic simplicity she sees in him a prospective story and, without further ado decides to use his love as grist to her mill. She shows him around the rich circles where he is but a misfit.

Twisting around her little finger and besotted by his love for her Ram Saran is only too eager to oblige her. But for Kaamya he is just a cushy job. Everytime he throws himself over her in a somewhat childlike confession of his love for her, she rebuffs him.

But soon the truth is split open wide after Ram Saran sees the lady of his dreams in bed with someone else. Down goes our Ramu Bhaiiya in a precipitous fall deep into the mire of netherworld. The suds are all blown off and the water is clear now. That’s the end of the innocence. He plans to go to Dubai and even takes to the gun, which he would not have dared to touch otherwise, not even with a bargepole. The city again wins in corrupting a rustic lad.

The movie has its ups and downs. The joie de vivre, which is quintessential to the first half gives in to a somber mood in the second half.

Unlikely though it may seem not all the stories have neat ends. Not always does the good win over evil. Considering the extent to which human values have degenerated in the cities, it doesn’t seem strange why Hansal Mehta chose such an offbeat end for this film. In fact the end has an impact and leaves a big question mark. There is a message too—Dil Pe Mat Le Yaar

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