Ek Deewana Tha – Film Review
Posted by FATEMA H.KAGALWALA on February 17, 2012 | 1 Comment
PRODUCER – Gautham Menon, Reshma Ghatala, Venkat Somasundaram
DIRECTOR – Gautham Menon
WRITER – Gautham Menon (Story), Javed Akhtar (Screenplay)
CAST – Prateik Babbar, Amy Jackson
MUSIC – A. R. Rahman
Love speaks a universal language. The context it is placed in gives it its colours and shapes it into its uniqueness. Gautham Menon, much-admired for his ‘Rehna Hain Tere Dil Mein’ in Hindi and a variety of romances and action flicks in Tamil and Telugu (Vinnaithaandi Varuvaayaa, Kaakha Kaakha) brings ‘Ek Deewana Tha’ a remake of his Tamil super-hit Vinnaithaandi Varuvaayaa , also remade in Telugu as Ye Maaya Chesave. Both versions saw commercial and critical success. However, something goes incredibly wrong with the Hindi version.
The story is about a young Marathi Konkanastha Brahman boy Sachin (Prateik Babbar) who falls helplessly in love with a young Malayali Christian girl Jessie (Amy Jackson). It is a middle-class milieu they inhabit in a small-town in Kerala where forces of tradition and convention play a big role. Jessie and Sachin cannot unite in their love. There are more obstacles in the path with Sachin’s dreamy ambition of wanting to become a film-maker and Jessie’s strict, traditionalist family. Love still blossoms despite these obstacles because as we all know love knows no boundaries.
Unfortunately, the film never makes this love its own. The fervor of first love refuses to bring freshness to the film as Prateik and Amy strike little chemistry or conviction in their roles. A laborious screenplay and pallid performances bring little settling down for the viewer and evokes little empathy or interest in the so-called life-changing love Jessie and Sachin are supposed to be experiencing.
The entire film brings about a nowhere feeling. A feeling about the world not being real enough, rooted enough in any reality. The form is traditional and so is the world but none of it is anchored in a strong sensibility that could carry it through. Cinematography by M S Prabhu does little to evoke the lilting romance of young love and Javed Akhtar’s lyrics completely fail to capture the sensibilities of A R Rahman’s music. What is a young love story without its music? Strip Ek Duje Ke Liye, Maine Pyaar Kiya, Qayamat Se Qayamat Tak of their mellifluous music and lyrics and they become half as powerful.
There is little to remember or take back from this romance that tries too hard to be, just like its young leads; Prateik trying too hard to amp up his natural likeability with his spurious talent and Amy Jackson trying hard to hide her British-ness behind layers of make-up and borrowed voice. The film gets lost amongst scores of uneven attributes such as these and you wonder where did the real Gautham Menon disappear?