You can't watch all the movies for inspiration or message. A lot many of them are to be watched for pure entertainment only and then this underhyped and less promoted one is for those only who want neat and clean wholesome entertainment consisting of an ideal family in which Bhaiya and Bhabhi are no less than parents for the younger brother, a lovely romance, a love triangle that come into existence due to an obsessive second female lead, a struggler but talented singer's success in the competitive world of Mumbai and finally the action and the thrill in similar optimum quantum as salt in Daal or Sabzi or Aata.
The extra-ordinarily handsome and dashing hero Nakul Kapur is a villager in his debut (and unfortunately the last also) movie, living in Jaisalmer with his loving Bhaiya and Bhabhi and always dreams of making it big in the music world, courtesy his god-given singing talent. A tourist - Aarti Chhabaria arrives his city with her college group and identifies the diamond hidden in dust just like an able Jauhari. She advises him to come to Mumbai. And when getting his Bhaiya-Bhabhi convinced with difficulty, he moves from Jaisalmer to Mumbai, he gets shelter in the house of his motivator, Aarti living with her widow mother and younger sisters (a mother of grown-up daughter has no hitch in allowing a largely unknown male to live with them, great filmy mother !) but the harsh realities of the career and market frustrate him. He is not ready to let go the virtues developed in him during his village life but not ready to give up as well. And then arrives the spoiled rich butterfly - Kim Sharma who hears his voice in a road show (it was his last resort to make the people hear his voice and see his talent) and falls for him. With her support, Nakul really makes it big in the Bollywood music world but Kim's obsession for him creates a love triangle of Nakul, Aarti and Kim, ultimately leading to a violent climax, sending Kim to wheelchair. But Nakul is still grateful to her for everything done by her to build his career.
The highly melodious music of this movie composed by Nadeem Shravan has made this movie comparable to Saawan Ko Aane Do (the musical hit of Rajshri in 1979) but that similarity is for the 50%part of the movie, the balance 50% has its take on Ram Gopal Verma's Pyar Tune Kya Kiya. But this cocktail is not bad, it's rather good and gives you a satisfactory feel. All the formulae have been mixed in the right proportions in the movie and you know when all the required ingredients masaalas) are properly mixed (nothing much, nothing less), the dish is bound to be delicious. That's the case with Tumse Achchha Kaun Hai. The entertainment provided does not allow the viewer to pay attention to the directorial mistakes or the cinematic liberties taken to lead the movie towards a reasonable end of the story. Engrossing. Definitely.
Music as I have already admired is TAKH's biggest strength. At least five of the total seven compositions are highly melodious as well as meaningful and able to touch the chord of the listener's heart. The next strength is performances. The protagonist, Nakul Kapur has given an amazing performance and in my view, he was the deserving claimant of the best debut award for the year 2002. He has showed his talent and guts in action, dance, emotion, romance; where not ! But surprisingly tragic fact is that he just disappeared from the silver screen after this praiseworthy debut. That's how the cruel world functions. Aarti Chhabaria and Kim Sharma though, are still acting in odd movies and at least they cannot be called unemployed. Most of the characters have done well (some underplayed, some exaggerated but overall impact has been satisfactory for the story that has come before the spectators). Aarti Chhabaria, first time in a lead role, looks pretty though shown fully clad in traditional Indian clothes, just like the girl next door (behenji type). It proves that to look beautiful, a girl does not essentially have to be glamorous. Kim Sharma could not repeat the Urmila Matondkar act of Pyar Tune Kya Kiya but she has worked hard to deliver a convincing performance. Finally, Raghuveer Yadav, a highly talented actor coming from the stream of realistic cinema, has delivered a knock-out performance that stands out among others. The cinematographer has admirably captured the beauty of Rajasthan in the first half of the movie. Dialogues are also good. Editing is OK.
My advice to the viewers - just watch the movie with moderate expectation and be clear in your mind that you are watching it for wholesome entertainment and not for any other objective. Then, you take my word for it, you will love it. It was a box office flop, perhaps because of bad publicity and new unknown faces in the leads. But it is worth a dekko.
Personally asking, I would like to watch it again and again. The personality of Nakul Kapur in the movie is such that I would not have been surprised had I found several young unmarried girls of our country falling for him (as was the trend for Rajesh Khanna in the late sixties and early seventies). Had the movie been given better publicity and become a box office success, who knows Nakul would have become the next heartthrob of the young Indian females. But that's called destiny.
Nice timepass.
The extra-ordinarily handsome and dashing hero Nakul Kapur is a villager in his debut (and unfortunately the last also) movie, living in Jaisalmer with his loving Bhaiya and Bhabhi and always dreams of making it big in the music world, courtesy his god-given singing talent. A tourist - Aarti Chhabaria arrives his city with her college group and identifies the diamond hidden in dust just like an able Jauhari. She advises him to come to Mumbai. And when getting his Bhaiya-Bhabhi convinced with difficulty, he moves from Jaisalmer to Mumbai, he gets shelter in the house of his motivator, Aarti living with her widow mother and younger sisters (a mother of grown-up daughter has no hitch in allowing a largely unknown male to live with them, great filmy mother !) but the harsh realities of the career and market frustrate him. He is not ready to let go the virtues developed in him during his village life but not ready to give up as well. And then arrives the spoiled rich butterfly - Kim Sharma who hears his voice in a road show (it was his last resort to make the people hear his voice and see his talent) and falls for him. With her support, Nakul really makes it big in the Bollywood music world but Kim's obsession for him creates a love triangle of Nakul, Aarti and Kim, ultimately leading to a violent climax, sending Kim to wheelchair. But Nakul is still grateful to her for everything done by her to build his career.
The highly melodious music of this movie composed by Nadeem Shravan has made this movie comparable to Saawan Ko Aane Do (the musical hit of Rajshri in 1979) but that similarity is for the 50%part of the movie, the balance 50% has its take on Ram Gopal Verma's Pyar Tune Kya Kiya. But this cocktail is not bad, it's rather good and gives you a satisfactory feel. All the formulae have been mixed in the right proportions in the movie and you know when all the required ingredients masaalas) are properly mixed (nothing much, nothing less), the dish is bound to be delicious. That's the case with Tumse Achchha Kaun Hai. The entertainment provided does not allow the viewer to pay attention to the directorial mistakes or the cinematic liberties taken to lead the movie towards a reasonable end of the story. Engrossing. Definitely.
Music as I have already admired is TAKH's biggest strength. At least five of the total seven compositions are highly melodious as well as meaningful and able to touch the chord of the listener's heart. The next strength is performances. The protagonist, Nakul Kapur has given an amazing performance and in my view, he was the deserving claimant of the best debut award for the year 2002. He has showed his talent and guts in action, dance, emotion, romance; where not ! But surprisingly tragic fact is that he just disappeared from the silver screen after this praiseworthy debut. That's how the cruel world functions. Aarti Chhabaria and Kim Sharma though, are still acting in odd movies and at least they cannot be called unemployed. Most of the characters have done well (some underplayed, some exaggerated but overall impact has been satisfactory for the story that has come before the spectators). Aarti Chhabaria, first time in a lead role, looks pretty though shown fully clad in traditional Indian clothes, just like the girl next door (behenji type). It proves that to look beautiful, a girl does not essentially have to be glamorous. Kim Sharma could not repeat the Urmila Matondkar act of Pyar Tune Kya Kiya but she has worked hard to deliver a convincing performance. Finally, Raghuveer Yadav, a highly talented actor coming from the stream of realistic cinema, has delivered a knock-out performance that stands out among others. The cinematographer has admirably captured the beauty of Rajasthan in the first half of the movie. Dialogues are also good. Editing is OK.
My advice to the viewers - just watch the movie with moderate expectation and be clear in your mind that you are watching it for wholesome entertainment and not for any other objective. Then, you take my word for it, you will love it. It was a box office flop, perhaps because of bad publicity and new unknown faces in the leads. But it is worth a dekko.
Personally asking, I would like to watch it again and again. The personality of Nakul Kapur in the movie is such that I would not have been surprised had I found several young unmarried girls of our country falling for him (as was the trend for Rajesh Khanna in the late sixties and early seventies). Had the movie been given better publicity and become a box office success, who knows Nakul would have become the next heartthrob of the young Indian females. But that's called destiny.
Nice timepass.