Bollywood has witnessed a number of love
triangles and quadrangles in the past. DIL
MAANGE MORE follows the same path in a way.
Realistically treated with light moments
aplenty, it could've been an ideal date movie.
But it turns out to be a mediocre affair
primarily because the stories get so messed up
in the latter part that the impact of a strong
first half gets diluted to a major extent.
DIL MAANGE MORE talks about the myriad phases of
teenage romance, through the eyes of Nikhil [Shahid
Kapoor], who spends most of his time playing
football in Samarpur.
And when Nikhil is not indulging in his pet
passion, he romances with Neha [Soha Ali Khan].
The two seem committed to each other, till Neha
decides to leave for Mumbai, to train as an
air-hostess, a dream that means more to her than
Nikhil follows her to Mumbai, where he stumbles
on to Shagun [Ayesha Takia], who resides in his
Nikhil keeps pursuing Neha to come back but with
no success. But the lover with a never-say-die
attitude decides to stay put till his love
relents. So Nikhil gets a job at a music shop.
While Neha in the midst of completing her
air-hostess course, Nikhil meets Sara [Tulip
Joshi], his colleague at his workplace. So, who
is finally destined for Nikhil? Is it Neha, Sara
After trying his hand at a retro-musical in DIL
VIL PYAR VYAR, which was more of an experiment,
director Ananth Narayan Mahadevan takes a more
commercial route in DIL MAANGE MORE, his second
DIL MAANGE MORE is more of a light entertainer,
but is shades different from the David Dhawan
and Priyadarshan brand of movies. The situations
are straight out of life, the light moments have
some logic behind them, there's a reason for
everything that happens in most parts of the
But the effort to pack so many love stories in
just two hours tends to get cumbersome after a
point. While the film starts off well and the
initial portions are indeed captivating, the
narrative starts running out of steam as the
story moves forward.
You expect the narrative to gather momentum in
the post-interval portions, but surprisingly,
the film now starts moving in a predictable
zone. It's easier to guess what's in store next.
However, the biggest drawback is its finale. The
conclusion could've been better thought of for
sure. The end appears to be a major compromise
from the writing point of view.
Director Ananath Narayan Mahadevan shows a
marked improvement as a storyteller, but the
story he chooses to narrate isn't that fanciful.
To start with, a simple story has been stretched
to such a degree that by the time it reaches the
finale, it not only gets complicated, but also
doesn't keep you involved in the goings-on. Yet,
there's no denying that Mahadevan has handled
the light moments with flourish.
Besides, for any love story to make a place in
your heart, it ought to be embellished with two
factors - tender moments and soulful music.
Although the film has its share of moments, they
aren't enough to pull your heart strings or make
you pine for the lovers.
As for the songs, Himesh Reshammiya's tunes are
a mixed bag. 'Gustakh Dil' and 'Aisa Deewana'
are two tracks that can be termed as
foot-tapping and gel well with the mood of the
film. But the remaining tracks seem peppered
into the narrative as mere props.
Javed Siddiqui's screenplay hardly convinces.
There was immense scope to explore with so many
characters on the scene, but a little more
effort would've only yielded better results.
Cinematography [Amit Roy] is of standard and the
outdoor locales [Malaysia] add freshness to the
In a role that fits him like a glove, Shahid
Kapoor catches your attention instantaneously
with his screen presence. He is, like we all
know by now, superb in dances, but he does not
need to be a clone of Shah Rukh Khan when it
comes to acting. Shahid ought to be an original.
Ayesha Takia has the meatiest role of all female
artistes and she doesn't let you down. Tulip
Joshi doesn't have much to do. Debutante Soha
Ali Khan might bear a striking resemblance to
her legendary mother Sharmila Tagore, but as far
as talent goes, she's yet to get the grammar of
acting right. She appears completely blank at
Zarina Wahab and Kanwaljit Singh are competent
enough. Gulshan Grover provides some interesting
moments. Smita Jaykar is okay.
On the whole, DIL MAANGE MORE is an ordinary
product that has its share of limitations. At
the box-office, it may enjoy a few days of
sunshine thanks to a solo release and also due
to the vacation period, but a long run seems
tough. However, the youth may patronize the film