Super Cassettes Industries Ltd.'s TUM BIN,
directed by Anubhav Sinha, is a conflict between
love and logic, conflict between love and
destiny, conflict between love and options.
It is a story of Piya (Sandali) who fell in love
with someone who shattered her dreams. Piya fell
in love with Shekhar (Priyanshu) without ever
realising that a cordial, official and a formal
relationship with Shekhar grew from reliance to
trust, trust to dependence and dependence to
Piya fell in love without ever realising that
Shekhar had a past. This past, if told, was a
sin, a crime.
Enters Abhi (Himanshu) at this stage. Abhi is
someone who is God-sent for Piya. But Piya is in
love with Shekhar, who carries a dark past with
him. What happens next?
The basic idea has shades of the Rajesh
Khanna-Meena Kumari hit DUSHMAN; in this case,
the difference being, the hero (Priyanshu) flies
all the way to Canada to admit his mistake to
the family of the deceased (Rakesh).
TUM BIN is one of those love stories that has
dollops of emotions. It moves you on various
levels, but has its share of snags as well.
The emotional moments in the film are
heart-rending, especially those when Priyanshu
interacts with the family members.
The film boasts of a fresh look, thanks to the
fresh faces and the unexplored locales of
Canada. The visuals captured by the
cinematographer are stunning. The film will be
discussed also for its aesthetic appeal.
The new faces come without the baggage of a
fixed image, which is an asset for a theme like
this. You don't expect the moon from them, but
you get more than you could've ever imagined.
The three heroes essay their characters in the
vein of accomplished performers.
The songs are ear pleasing, the picturisation is
eye-filling and of course, they have been
aggressively promoted by the producers. At least
five songs stand out for the melody and their
vivid picturisation – 'Tumhare Siva', 'Zoom Boom
Bura', 'Chhoti Chhoti Raatein', the Jagjit
Singh-rendered 'Koi Fariyaad' (which has a
haunting tune!) and Stereo Nation's 'Thoda Daru
Vich Pyar Milade'.
As a first-timer, director Anubhav Sinha
succeeds in giving the film that certain sheen,
which is comparable to any big-budget film that
stars known names. Even otherwise, the mature
strokes of a director are visible in his very
first attempt. For, the emotional sequences
strike a chord with the cinegoer.
The film is slow-paced and moves at a leisurely
pace throughout. If the story penned by Sinha is
novel, his story telling should've been
fast-paced. The film tests the patience of the
viewer in certain scenes, thanks to its tempo.
Also, it has a classy look at most times, which
will mainly appeal to the elite.
The screenplay is not cohesive to keep the
viewer's interest alive. How one wishes a few
issues were sorted out in a simplified manner.
To cite an instance, a rift occurs when
Priyanshu expresses his feelings at the Board
meeting when the company is about to merge with
The speech that ensues does not clearly indicate
whether Priyanshu is condemning or approving
The re-emergence of the cop in the pre-climax
catches the viewer unaware. The film could've
done without this track definitely. Moreover,
the lengthy scene between Vikram Gokhale and
Sandali in the end should be trimmed. Also,
Priyanshu's accident in the climax adds to the
length and gives it a predictable look.
In a nutshell, the film needs to be trimmed to
improve the pace of the goings-on.
As stated above, the three lead players more
than live up to the expectations and deliver
almost flawless performances. Footage-wise,
Priyanshu has the meatier role and he performs
it with utmost sincerity. His expressions,
especially in the emotional scenes, spring a
Himanshu Malik's entry in the film is
appropriate. He enters just when the
Priyanshu-Sandali track is about to stagnate and
must say, Himanshu does a first-rate job. Not
only does he fit the role, his performance is
Rakesh has a brief role, but the boy has a
charming personality. Not once do you feel his
absence throughout the first half, although his
work is limited to a handful of sequences.
Sandali looks pretty throughout and does well in
several sequences. But the girl needs to polish
her diction and of course, needs voice training.
However, her expressions towards the latter
stages of the story are commendable.
Navneet Nishan provides wonderful relief.
Rajendra Gupta, Dina Pathak and Vrijesh Hirjee
are adequate. Rakesh's sister is natural.
Dialogues (Anubhav Sinha) are brilliant.
Cinematography (Vijay Arora) is splendid.
Production values are lavish; the producers have
spent money and the results show on the screen.
On the whole, TUM BIN has gloss, a hit musical
score, competent performances, mature direction
and a tremendous publicity campaign as its
assets. But the screenplay in the second half
and the loose editing dilute the impact to an
extent. Yet, with some trimming, the film should
find patronage from those who enjoy emotional
films. However, the big oppositions (AKS and the
two hits – GADAR and LAGAAN) will restrict its
prospects to an extent. Business in Mumbai
should be the best.