‘PAL PAL DIL KE PAAS’ IS OLD SCHOOL LOVE IN MODERN TIMES OF HASTENED RELATIONSHIPS

Rating: 3/5
Director Sunny Deol gives an idea of love that is pure but not rooted in today’s era reducing the overall impact

You will either love this film. Or simply hate it. There is no mid way in Pal Pal Dil Ke Paas (PPDKP). Made with genuine intentions incorporating persistence, commitment, and patience as integral elements of love, the film finds it’s base if you like this idea. You can love the film (which means the film is not badly made) if you are into intricate emotions and also okay in consuming the same on screen. But chances are more that you’ll fall in the latter category, for one very important reason. You’ve seen such films numerous times on screen, in variations or even as simple as this one. Since you are being taken back into era bygone, you are not up for it.

pal pal dil ke paas, film ,review, hindi, 2019
On sets of the film (image source: mogossip.com)
PLOT

A video blogger Saher Sethi (Sahher Bambba) goes on a solo trekking camp in Manali named Camp Ujhi Dhaar owned by Karan Sehgal (Karan Deol). She has good reasons to believe that the camp is a scam and it charges a bomb for no reason.

Read ‘Baadshah Pehlwaan’ Movie Review Here 

STORY/SCREENPLAY/GENERAL

Jasvinder Singh Bath and Ravi Shankaran’s story is simple, clean, and pretty much by the lines. There are no major turns and twists of the events which you might assume the story to have . The basic tenet that the film relies on is the idea of true feelings for someone and sticking to it no matter what. Of course, you do predict the end to some extent, but the film doesn’t disappoint you with how it reaches there.

Opening with exotic shots of beautiful Manali (hardly explored before), the film takes you on a thrilling adventure where even while you are visually enthralled, you also feel the adrenaline rushing.

Watch the trailer here:

As the direction goes and sails smoothly, the film isn’t able to hold you tight. A lot of this is also because of the cheesy dialogues (as per the positioning of the film, they are okay) which the audience of today is annoyed at, rather than being connected to. Also, in an age of hurried relationships wherein a lot of bonds are dependent on technology, there is an absolute absence of that notion in PPDKP. Good thing for the sanctity of the basic premise, but not good enough for the audience of today.

The film takes good time to establish the relationship between the lead pair and it also has sweet energy stirred well. There’s a scene where Karan drives Saher back after her trip. Even without a single dialogue, the scene connects well moving with the trajectory of the film.

The first half is vivacious. The second one seems stretched with villains and conflicts playing their respective parts in a very archaic manner.

PERFORMANCE

Karan Deol has clearly performed below the bar. He hasn’t lived up to the expectations, in most scenes. He comes across as childish and even funny in scenes that require maturity and seriousness respectively. In emotional scenes, he is still better than the rest. Most of his dialogues are of superfluous nature and even his body is restricted. As the leading man of the film, he needed to have more confidence not just in his mannerisms but physicality as well. Of course, not meaning that he needed to be macho and chiseled. In fact, he looks ordinary, and that’s why he suits the story.

On the other hand, it doesn’t seem that this is the debut project of Sahher Bambba. She not only looks pretty even when she’s de-glam but also suits to her part. She makes sure you connect to her character and nails the part. She is extremely confident indicative that she has a long way to go. Blame it on the writers here though for not making her character convincing enough.

pal pal dil ke paas, review, film, hindi, 2019
Karan Deol, Sunny Deol, Sahher Bambba during promotions (image source: prokerala.com)

Sachin Khedekar is okay, clearly under utilized. Simone Singh is good and makes a powerful impact with her presence.

Nitika Thakur is good in a small supporting role. Aakash Ahuja has performed brilliantly in a role that doesn’t has an edge. He shines though. Meghna Malik in a small but powerful role makes a statement.

OTHER TECHNICALITIES

Music is melodious and also suits the film’s path. They make the film a wholesome album. Background score by Raju Singh is worth it, definitely. The film right from the first scene scores on its score. The sound overall gives life to the breezy and youthful approach.

Cinematography by Himman Dhameja and Ragul Dharuman is visually splendid, especially the parts shot in outdoors in hill stations. The film in its visual appeal has a freshness and you feel you are watching a different film despite having seen hills in so may other films. Production design moves in accordance with the camera giving you a glorified experience on screen. The film is enriching and beautiful.

Editing by Devendra Murdeshwar is good too as per the scope provided by the script. There are definitely dull moments which could have been avoided, but overall the narrative works, if you fall in the former category of audience though.

PPDKP is sweet and engaging too. But here you feel that since Sunny Deol refuses to come to terms with the idea of modern day love. Nothing wrong with that. So the film caters to one section of the audience only and will be hailed only by them. For the rest, better luck with some other contemporary execution. It’s not a bad film. Only thing, it could have been better.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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