Now Barjatya rectifies all the mistakes in his first two historical hits MAINE PYAR KIYA and HUM AAPKE HAIN KAUN. The sweet, cloying coyness and almost-unbearable bonhomie of those two films and also Barjatya's HUM SAATH SAATH HAIN is here replaced by a far more fluent and fertile imaginative impulse, which irrigates nourishes and nurtures Barjatya's idealistic, almost utopian view of a joint family.
Gone is the amateurish home-video feel to Barjatya's earlier familial epics. Yes, there's plenty of singing (and not of a very high caliber, I'm afraid) but blessedly little dancing in the long but fulfilling and fluent drama of domesticated courtship. The simple charm of the boy-meets-girl story is laced with untold moments of absolute enchantment.
In his typical fashion Sooraj Barjatya weaves together moments between the couple as they move in and out of the domestic flock. Blessedly the joint family is kept at a far more manageable level here than in Barjatya's other films. No irksome broods of Mamajis and Buas to fill up the space in the fringes, so that the couple in love gets ample breathing-space to let their mutual feelings grow in leisurely grace.
The old-world charm of a yarn that weaves in and out of amorous arrangements within an arranged marriage is tremendously aggrandized by the lead pair who goes through the mellow motions of falling in love, in a spirit of artless adventure in an unexplored journey.
The external detailing of a small dusty town near Delhi is exquisitely canny the crowded gullies, the urchins running after Shahid's posh car when he visits his in-laws-to-be, the halvai ki dukaan and the night-time bustle compounded by distant sounds of old Hindi film songs Sanjay Dhabade's artwork is among the best I've seen in recent times.