Come on, it's okay to set a film in the late 60s but that that doesn't mean that the scenes have to be copied-pasted from the cinema belonging to this era? A boy (Luv) seeing a girl (Ferena) on a 'shikara' in Kashmir and falling in love with her on first sight itself could have been a little more imaginative. But this doesn't turn out to be the only 'now-what's-that' moment of the film. What follows next is even worse as the film keeps hitting the bottom of the barrel.
So here we have the a bunch of friends (who would have scored the least marks in an audition for extras in 'Bollywood) coaxing the girl to act blind so that her 'love ki sachchai' is examined. If the sequences to follow start to reminding you of Shammi Kapoor, Sharmila Tagore, Sadhana etc. from the era gone by then you can expect more such references with the girl catching cold in the snow, a hut round the corner, and the boy providing mouth to mouth respiration to resurrect the girl.
They unite, face parental opposition due to difference in religion, find a respite coming in due to eventual revelation of them belonging to the same religion, biological parents (Hema Malini, Javed Sheikh) land in for the celebrations, desire to take the kids back to Pakistan and no hell really breaks loose as all our man does is just cry in front of dear-o-momma but never quite build a case good enough for his stay back in 'apna hindustan'. Some more tears flow and in the end, Hema Malini reverses Amrish Puri's 'jaa Simran jaa' act by letting the kids stay on and instead board a train back to Pakistan herself!
SADIYAAN aims at being a masala pot-boiler without a single bout of 'dhishum dhishum', which is actually a feat achieved by director Raj Kanwar who could have been expected to get into a JEET and JAAN mode, courtesy the Hindu-Muslim background of SADIYAAN. However, he instead gets into the usual melodramatic ranting of 'do dilon ko siyaasat ne lakeeron ne zuda kar diya', 'kya dono watan aman se nahi reh sakte', 'insaaniyat sabko saath laati hai' and stuff alike.
This is where the seniors come to rescue as actors like Rishi Kapoor and Rekha just light the screen whenever they appear. While the former is natural, the latter is animated but in an over-the-top drama like SADIYAAN, you don't mind that much. Yes, a 'bhangra-shangra' at the 'beat-of-the-dhol' with 'malai-maar-lassi' and 'thodi-si-rum-te-bhoolo-saare-gham' talks have been left three decades behind but Rishi Kapoor manages to survive it all due to sheer conviction. Neetu Chandra's 'mujra' in the pre-climax is the only saving grace in a dragging second half as she lights up the screen with a spirited act.
Ferena Wazeir is slightly (and only relatively) better but that's not saying much for the girl who is forced to totally disappear in the second half of the film. If her make up is a definite area of concern, her own self isn't to be blamed less for a dialogue delivery which is akin to that of Tara Sharma. And the world would agree that this is not a compliment.
And now comes the hero. Gosh, just leave aside comparisons with high profile debuts like those of Ranbir Kapoor, Imran Khan or Neil Nitin Mukesh in the recent times. Even relatively lesser debutants like Aditya Narayan, Himesh Reshammiya, Rajeev Khandelwal, Jackky Bhagnani or Ruslaan Mumtaz would feel mighty relaxed on seeing the act that Luv Sinha puts on screen. He just doesn't deliver. Period. Whether it is emoting, romancing, dancing or riding on the horse - he is awkward at every juncture.
Nope, this one is not happening and the same can be said about the movie as a whole as well. Skip it!