When a director is given the responsibility of launching a fresh pair with the hero coming from one of father-figure families of the Film Industry then he should at least try to deliver something fresh in the name of concept or treatment, to make the best of the opportunity given. But sadly, just opposite is the case with LEKAR HUM DEEWANA DIL, which clearly indicates its flawed vision when a Rahman song is first wasted in its opening credits only and further when its story progression keeps jumping from one plot to another like a blind frog not knowing where it should actually move towards in the dark room.
So displaying a confused mindset, director Arif Ali refuses to take some risk adapting any novel concept for the debutants and begins with his own tribute to JAANE TU YA JAANE NA (2008) in the film's initial moments, followed by a mixture of ideas taken from his brother Imtiaz Ali's SOCHA NA THA (2005), JAB WE MET (2007) and even HIGHWAY (2014), quite casually. At first it also reminded me of Sachin's PREM DEEWANE released in 1992 featuring an eloping couple. But changing tracks, the director soon goes back to the ages old theme of post (love) marriage misunderstandings, seen in numerous movies ranging from Rajesh Khanna's AVISHKAAR(1974), Rakesh Roshan's PRIYATAMA (1977) & Shaad Ali's SAATHIYA (2002) to Shahrukh Khan's CHALTE CHALTE (2003), delivering a pretty routine, boring and childish film targeting the youth of the nation in particular.
To give you a fair idea about the script's intelligence quotient, it has a father hitting his college going boy with a fist as if he has done a crime and then the boy also willing to hit his girlfriend in the same manner (showing his fist) like a maniac. Later a marriage counselor seems more disturbed than her patients sitting on the couch and wait, we also have an item song here right within the jungle hideout of Naxalites having some funny lyrics saying 'Mawaali Qawwali'. With no detailing given to the lead characters, they both remain hyper throughout the film with their constant yelling and look silly taking many crucial decisions of life just like that (including their hasty marriage). Having nothing in store to surprise you right till its easily predictable climax, LHDD actually makes you think that did nobody read this script in the Kapoor family at all before launching one of their own kids. Or it was just formality done by Karishma Kapoor as an elder sister accompanying Armaan on Kapil's Comedy Show contributing in the film's media promotion.
In the music department A.R. Rahman comes up with an average score once again with very few enjoyable songs saving the soundtrack from becoming a complete non-performer and DOP tries his best to give it a rich look. However regarding the performances where Armaan should always thank his lucky stars and God gifted family for the golden opportunity given, there Deeksha can still hope for some more work ahead due to her satisfactory act much better than Armaan. Supporting cast remains a mix of average to forced performers revealing another aspect of the director's questionable mindset wherein he still thinks that a South Indian father always has to be the one with a dark complexion.
Summing up, I would like to address the viewers here, who eventually would be spending both their money & time on such poor ventures made without any specific vision. And in clear words, if you really are willing to see some fabulous films made on this important subject of an affair, love marriage and the problems arising in its later years post the initial romantic phases. Then forget about any of these confusingly made films without any soul of their own and just go for the famous trilogy on marital discord by Basu Bhattacharya made in the 70s comprising of three beautiful films called ANUBHAV (1971), AAVISHKAR (1973) and GREH PRAVESH (1979).
In other words, if today film-makers in Hindi Cinema are not giving you many worth watching films to learn from then all is not lost yet as there are much better movies made in the past to be explored essentially and some great visionary work being done in the regional cinema of the country too which remains hidden due to our own short vision and limited access. So stop being fooled by all these routine projects made to serve the demanding market packaged in an impressive style and move towards the actual cinema, which you all have been missing since long.
