Lekar Hum Deewana Dil Movie Info:
Lekar Hum Deewana Dil is a romantic Bollywood drama film that stars Armaan Jain and Deeksha Seth. Jointly produced by Saif Ali Khan, Dinesh Vijan and Sunil Lulla under the banner of Eros International.
Initial release: July 4, 2014 (India, Pakistan)
Director: Arif Ali
Running time: 2h 20m
Box office: 25 million INR
There are love stories. And there are romantic sagas helmed by makers like Yash Chopra and Imtiaz Ali. Imtiaz Ali — in particular from the present league of storytellers — has tackled modern relationships most adroitly. His brother, Arif Ali, now makes his big screen debut with a contemporary love story LEKAR HUM DEEWANA DIL. Like his brother, Arif too offers a realistic take on relationships, peppering the film with witty, charming and delightful moments. For most parts.
Although Arif does make an earnest attempt to narrate a story that’s distinct from films of its ilk, you can’t help but notice the influence of Imtiaz’s works in his directorial debut. Let’s not be grumpy — one tends to be motivated by the celebrated works of your peers — but there are times when you feel that the film is scattered [it lacks a foolproof screenplay; more on that later]. Nonetheless, what you cannot deny is that LEKAR HUM DEEWANA DIL has got its heart in the right place.
Let’s enlighten you about the plot before we proceed forward. Set in South Mumbai, Dino [Armaan Jain] and Karishma [Deeksha Seth] are young and restless who wish to live life on their own terms. When Karishma’s family mounts pressure on her to get married, she and her rebellious best friend Dino realize that they are made for each other.
Being the rulers of their destiny, they elope to forge a lifetime of love, fun and freedom. But they are yet to learn that life isn’t that simple. And sometimes who you love the most can become the biggest problem. Dino and Karishma go through friendship, disillusionment, conflict and heartbreak, until they realize true love.
There’s a boy. There’s a girl. Romance blossoms. They face roadblocks. There’s heartbreak. They drift apart. Ultimately, all’s well that ends well. Arif uses the time-tested template to narrate a story, but, let’s not overlook the fact that a mere outline with the usual tropes can never make an out of the ordinary film. Thankfully, Arif cushions the proceedings with sparkling moments in the first hour, but the writing slips in the post-interval portions.
Much like his brother’s films, Arif keeps his characters identifiable and their conversation real. It’s like sitting in a café or eatery and overhearing the conversation of the lovers and presenting the lovey-dovey talks/bickering in the most compelling manner. The episodes that lead to the lovers drifting apart is, perhaps, the best part of the enterprise, for the screenwriting does pull out several aces at this point.