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In several frames she bears a striking similarity to Sonam Kapoor.Īditya Chopra's directorial touch has the ability to emotionally bind you but the identity-change in the story is not cerebrally satisfying in contemporary times. She comes up with a confident and charming performance and matches up to Shah Rukh in every scene. Anushka Sharma exudes spirited screen-presence and has the most electrifying smile amongst present actresses. Fans would vie for the glamourized Shah Rukh, though he is more adorable as the silly Surinder. With only two primary protagonists, the movie relies a lot on their performances. The Haule Haule number is more imaginatively choreographed to common-man competence with its na��ve dance steps. Otherwise Salim-Sulaiman's musical score is harmonious and easy on the ears. The star-studded dance sequence as a tribute to yesteryear actors seems to be a direct spin-off from the Om Shanti Om track Dhoom Tana but not appealing to that effect for its patchy lyrics and tacky music. The writing is spewed with banal lines like 'ek ladki kya chahti hai? Itna pyaar jitna kisi ne kisi se na kiya ho'.

But beyond that the graph drops as you hear ksch ksch sighs in the hall and the story stretches and complicates itself. The screenplay has its share of vivacious intensity like in the Dhoom-styled bike sequence or the gol-gappa competition in the second half.

Nevertheless there are moments of sloppy sentimentality by a pouting Shah Rukh, like in the avertable mannequin scene just before the interval. One can also draw faint references with V Shantaram's Navrang (1959) where Mahipal is married to a homely Sandhya but finds his muse in her fantasized avatar.Įssentially the film takes the feel-good path as it tries to simplify the stagy effect by avoiding a rebellious streak to the aggrieved girl. The glamorization of geeky protagonist has been earlier employed to similar effect in Hrishikesh Mukherjee's Pyaar Ka Sapna (1969) where an anglicized Mala Sinha wins Biswajeet, when the illiterate village girl can't. Also the diversity in the characters isn't digestible as the introvert Surinder suddenly switches to the flamboyant Raj. With the incorrigible cheap flirting that Raj confesses of indulging into, you can't help but sense the same old SRK and somewhere lose on the individuality of the underdog. You soon lose the silliness of Surinder to the starriness of Shah Rukh Khan that is so suggestive in the character of Raj. But as Raj takes over, the pleasant change translates into the conventional clich��s of a hyped-hero.

The story at the very outset opens interestingly as you relate to Surinder's common man image and the underplayed mannerisms of his character.

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