Watch Dil To Pagal Hai For Free

Very Cool!!!

Too much of everything

Simply A Masterpiece

Sadly Over-hyped

I can find the reason behind the criticism of this movie out from a more than two decades old interview of an international female Tennis player - Mary Joe Fernandez. I had read her interview in 1990 in which she had asserted - 'When you are habituated to excel, just being good never satisfies.' I apply her quote her for the director of this movie - Yash Chopra who had directed several admirable movies in the past and built a reputation for himself as a maker of high quality cinema. Hence, the viewers of Dil To Paagal Hai compared this movie with his previous better works and the dissatisfaction that had emerged out of the high expectations from this movie, led to its criticism.Dil To Paagal Hai (the heart is insane) is a love-triangle of a theatre-group leader - Rahul (Shah Rukh Khan), his co-worker and friend - Nisha (Karishma Kapoor) and Pooja (Madhuri Dixit) who is an orphan fostered by a benevolent family and who happens to join his group just for the sake of one play in which Nisha could not partake due to her leg injury. The son of her fostering couple - Ajay (Akshay Kumar) loves Pooja and proposes to her and Pooja being burdened by the obligations of her guardians, agrees to marry their son. But there is one thing peculiar about her. She firmly believes that pairs are made in heaven, God has fixed the matches of the males and the females of this world even before their taking birth and now it's up to them to locate their matches and get united with them. The foundation of this general belief of hers leads to a specific dream for herself in which she sees her prince-charming approaching her like a fairytale and taking her away with him. How her belief comes true after several twists in this sentimental (and musical) love-triangle is the climax.This movie was also criticized for the superstitions like male-female pairs being made in heaven, a girl's meeting her dream-boy on the full-moon night falling on the Valentine's Day etc. Well, has there even been any dearth of superstitions being propagated and strengthened through movies in India ? Then why to criticize this movie in particular. Just because Yash Chopra directed it ? Not fair. The filmmaker has only shown how strongly Pooja believed in her dreams. And if you read the Law of Attraction as well as about the power of man's subconscious mind spelled out by many philosophers, you have to be convinced that thoughts and beliefs actually get materialized if they are strongly founded in the concerned person's mind. I remember a dialogue from my favourite movie - Sangharsh (1999) told by the hero (Akshay Kumar) to the heroine (Preity Zinta) - 'Sapne Soch-Samajh Kar Dekhne Chaahiye, Sach Ho Jaate Hain' (it's better to dream sensibly because those dreams may come true). Hence if a girl's dream has come true which she sincerely believed in, what's the big deal ? I have picked a very big yet quite subtle positive in this movie. In a couple of scenes, the theatre and the real life have been shown as getting intermingled. And both such scenes are damn impressive - one during the rehearsal of the play (titled as Maaya) and another during its actual staging which takes place in the climax. Yash Ji has presented these scenes in so skillfully that the viewer can only react as - WOW ! The cinematographer (Man Mohan Singh)and the art director (Sharmishtha Roy) have left no stone unturned to make the director's vision take a tangible shape. When you are under an impression that the characters are interacting in their real life, it turns out to be a scene of the play. Brilliant ! There are many scenes in which the emotional and drama quotient is quite high, true to Yash Ji's reputation. One is the informal dancing competition between Pooja and Nisha in which Nisha (out of her jealousy for Pooja) tries to belittle her in front of the group members including Rahul)watching their performance. Another illustration can be Nisha's outburst against the Almighty and throwing stones in the direction of the sky (where He is supposed to be).Yash Chopra has been known as the King of Romance for the past many decades and Dil To Paagal Hai is a showcase of his natural talent to make high quality romantic movies. In the opening song which runs alongwith titles, he has shown several couples (of all shapes, sizes and ages) including himself and his wife (Paamela) which provides this movie a different look since the very outset.Music is a very big plus point of this movie. Uttam Singh has composed the music of his lifetime using the lyrics of Anand Bakshi and the voices of Lata and Udit Naarayan for most of the songs. One song has been sung by Asha Bhonsle and one duet (referred to in the previous para) has been sung by Hariharan and Lata. All the songs are ear-soothing as well as heart-soothing.Performances are good. Even Akshay Kumar who was known as an action hero those days, has done very well in his surprise package type role. In addition to Shah Rukh Khan and Madhuri Dixit, the supporting characters including Aruna Irani, Farida Jalaal, Deven Varma, Shivani Wazir, Balwinder Singh Suri etc. have also met the demands of their respective roles with perfection. The show stopper is Karishma Kapoor who won the national award for the best supporting actress for the role of Nisha.The people who criticize this movie, overlook the quality of the product presented. It may be one notch below the lofty standard set by Yash Chopra for himself but overall, it's a nice movie with great musical appeal and immense repeat value.

This movie in my opinion was waste of time.The movie was too confusing and too hard and confusing.It has no romance.It was supposed to be a love triangle but it is not.The theme means there is some one for every one which is too un real and fake.Yash gives a terrible recipe for delight.Everthy thing is bad.The movie could have been fine if it not for the amateurish dialogs,screenplay and dialogs.Screenplay is confusing and is dull.Direction is mediocre.Dialogs are dull and tacky.Editiong is okay.Sound is goodReally the movie was not an absolute waste of time.It is watchable for Karishmas act.She dominates the movie from start to end(sorry Shah Rukh ).She is a complete scene stealer with a well deserved national award.She is pretty annoying at times.I could relate to her character in her skits.She is one great actress that should really come back and mainly should teacher her sister how to act.Shah Rukh Khan is amateurish.It is shocking to see that a man which gave one of the better performances that year with Pardes comes back with this trash.Madhuri looks stunning and thats it.But she does look great playing a show piece.Akshay barely has a role but still acts well and leaves a mark.Farida Jalal and Aruna Irani barely have a roleSongs are good.The filming is good.Technically the movie is superb.Camera work is flawless.Sets are looking stylish as ever and so are the locationsThis is watchable just for Karishma and the songs

Yash Chopra has oft been noted for his bold dramas, masterful characterizations, and resonating romances. Who, indeed, can forget the battle of wills between Amitabh and Shahi Kapoor in "Deewar", or the palatable devastation of Sanjeev Kumar and Jaya Bachchan in "Silsila", or the magical majesty of Sridevi in the Rajasthani deserts of "Lamhe"? Chopra reached the pinnacle of creativity with "Lamhe" in 1991. The downward slump which followed was perhaps inevitable, but definitely regrettable. "Parampara" was intermittently enjoyable, thanks in large part to Aamir Khan. "Darr" had all the requisite ingredients for success, and is certainly his best film post-"Lamhe", but lacked the taut quality a thriller requires. Shah Rukh Khan was still engaged in quality roles at that point, and succeeded in stealing the limelight from Juhi Chawla who played the protagonist famously referred to as "K-K-K-Kiran".But alas. If the house of Chopra had attempted different themes in "Kabhie Kabhi", "Silsila", "Waqt", "Deewar", "Chandni", "Lamhe", "Aaina", and "Darr", it failed to break any substantial artistic ground with the flossy and flaccid non-event called "Dil To Pagal Hai".In fact, it is so glaringly insipid that one cannot compare it to the repertoire which bears the name Chopra. Its clear predecessor is another "film". One cannot help but draw parallels between DTPH and Sooraj Barjatya's heinously contrived Hindu Family Values farce "Hum Aapke Hain Kaun": both films are driven by their songs, costume changes, and familial uptopias. There is no story, no plot, and outside Karishma Kapoor's spraining her ankle, no significant occurrence in the entire 180 minutes. There is little-if any-depth to the characters. Ms. Dixit is present in both, playing the same girl with different names, who is burdened with a unique form of arrested mental development in which she suffocates her own desire in deference to the will of her extended family, who in both cases is eager to marry her off to her brother-in-law (Mohnish Bahl in HAHK) or her adoptive brother (Akshay Kumar in DTPH). A curious tipping of the hat to the idea of incest, indeed. Of course, fans of Ms. Dixit have seen her umpteen times before in potbolier love triangles: "Saajan", "Mohabbat", "Arzoo", "Dil Tera Aasiq", "HAHK", "Wajood", "Koyla", "Yaaraana", "Rajkumar", "Khal-Nayak", "Sahibaan", "Hum Tumhare Hain Sanam", etc., etc., etc. Perhaps she was unaware that other types of films existed, or that embodying misogynistic feminine ideals, sucking limes, and swishing her dupatta endlessly does not qualify as "acting".Shah Rukh is little better off with a half-baked and half-acted performance that has all the excitement of a dull thud. DTPH probably also marks the beginning of the descent of SRK's status as an actor. The joyous heights of "Kabhi Haan Kabhi Naa", "Baazigar", and "Raju Bangaya Gentleman" are all distant memories. He had officially resigned his screen persona to the nondescript romantic hero "Raj/Rahul" who has since been seen in "Kuch Kuch Hota Hai", "Mohobbatein", "Kabhie Khushi Kabhi Gham", and of course, "Veer Zaara". DTPH belongs, in all of miniscule relevance, to Karishma Kapoor. She is the only example of intelligence or artistry in the film, stealing each and every scene in which she appears, and garnering a well-deserved National Award. It is interesting that virtually every other leading actress in India at the time, including Juhi Chawla, Manisha Koirala, Urmila Matondkar, Raveena Tandon, Tabu, and even Kajol had rejected the role because it was deemed too insubstantial. Indeed, it is the *ONLY* thing that is substantial in this attempt to one-up the hacked-up and hackneyed "Hum Aapke Hain Kaun!"

This film has reached expectations beyond belief and it is no surprise that Dil Tu Pagal Hai was done by none other than Yash Chopra. I'm into musicals and romances, which was probably why I adore this film and is the best. The performances were phenomenal, but that is no surprise coming from stars such as Shah Rukh Khan who is the 'Baadshah' of Bollywood (plus i recommend you watch Veer-Zaara - that film I think surpasses this one in some scenes). Madhuri Dixit had come back again in this film after Hum Aapke Hain Kaun... and to me she is the best dancer and actress I have ever seen in Bollywood. Karisma Kapoor was exceptional as Nisha in the film and I think no one else could have done her role better as the modern Indian girl - though now it is seen in practically all Yash Raj films (e.g. Mujhse Dosti Karogi). Watch the film and hopefully you'll love it as much as me.