I generally enjoy the films produced by Yash Raj. It could be due to their uninhibited romance, the great music, the talented stars, the production values, or the larger-than-life quality attached to many of them. Yeh Dillagi has all of it. It's not a very original film, not even a particularly well-made one, but it's still very memorable thanks to its own, unique style, its distinct setting, its music and its main star cast. The story of two brothers falling for the same girl without being aware of each other's feelings is extremely typical, but here, the film's refreshing energy makes up for the corny concept and the treatment of the main characters, especially of the female lead, is very good. Director Malhotra gives the film a nicely positive tone and the story develops at quite a fast pace.
The music here is outstanding and is perhaps part of the reason the film is somehow remembered today. Dilip and Sameer Sen's fantastic melodies are enhanced by Lata Mangeshkar's divine voice (that Mangeshkar, well into her mid-sixties, sang for a juvenile Kajol with such conviction, is quite a wonder). All the songs, without exception, are great. Among my favourite, "Lagi Lagi" is lyrical and exciting and "Dekho Zara Dekho Barsaat" is an uplifting romantic booster. "Hothon Pe Bas", a gem of a song quite in a league of its own, is amazingly sensuous - Mangeshkar manages, through sheer artistry, to bring to it so much sensuality, helping the chirpy Kajol, who has never looked more gorgeous and attractive, turn into a full-on seductress.
That said, the most unusual aspect is without a doubt the way the camera manages to capture the breathtaking beauty of Shimla and its many picturesque views seen through every window and in every outdoor shot. Really a refreshing change, especially when years later the big banners chose to move abroad instead of showing India's unique beauty. I wonder why so few films have been set in this region. The script was really quite okay, even with the usual faults, the unnecessary comic subplots and some of Saif's unconvincing affairs with some rather average-looking girls. I also liked the way the relationship of two brothers was portrayed, and I appreciated the writers for not going to the extent of fostering an unnecessary rivalry between the two.
The pairing of Akshay Kumar and Kajol is absolutely fantastic. The part where the story takes a turn to portray their interaction and growing affection for each other and the ensuing romance is the film's most beautiful sequence, and it's handled really well. It develops naturally, with nuanced depth, and is particularly interesting because no hint of any romantic tension between the two existed in the first half. It's not a love-at-first-sight story - the two connect first at a friendly level and this is exactly what makes their romantic realisation so special here. The scenes where she questions him about past relationships or the one where he asks her to translate different languages just to smartly convey his feelings towards her, are quite charming.
As the central protagonist, Kajol is charm personified as Sapna, but above all, she actually delivers a really strong and convincing performance, inhabiting every bit of Sapna's forceful and spunky personality with her natural charisma. As I say above, she has never been more sensuous or attractive than she is here, so no surprise that she is the centre of attention and love interest. Kumar, one of my favourite actors, is impressive in a role completely different from what people thought he best suited when he entered films (action). I wonder why Yash Raj didn't sign him for more films after this successful performance at the time. He is restrained, good-looking, charismatic, and during the song "Dekho Zara" shows to be a superb dancer - all the qualities required for this genre.
The second lead is Saif Ali Khan, who gets a substantial part which he does suit, and although he's good, he's not on the level of his costars. His character is very difficult to like in the beginning, and his comic timing hadn't fully emerged then as it certainly has nowadays. Anyway, Yeh Dillagi is very memorable for me, and maybe it's got to do more with the fact that I've liked it since childhood, so I tend to overlook some of its flaws - its nostalgic value might indeed have a strong effect on me. Still, I find it as good as several other Yash Raj flicks of that time; not as great as, say, Dilwale Dulhaniya Le Jayenge, in terms of filmmaking or story, but still a charming romance and altogether good entertainment which I like to revisit from time to time.
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