For Dilwale, Shah Rukh Khan has teamed up with the 'hit machine' director Rohit Shetty again in an attempt to script yet another mega box office collections success story.
For Dilwale, Shah Rukh Khan has teamed up with the ‘hit machine’ director Rohit Shetty again in an attempt to script yet another mega box office collections success story. To the mix is added Kajol, Shah Rukh Khan’s co-star of several unforgettable films. Several other names, on and off screen, lend muscle to the project to make it a success. From Rohit Shetty expectations are for audience-friendly movies. Most critics may deplore his work, but the paying public reveres his cinema. He promises dollops of entertainment which is lapped up by the masses. His movies may not offer ground-breaking stuff, nor do they pick up awards, but he whips up a storm at the box-office every time he attempts a high-on-entertainment fare. As such, Dilwale surpasses Shah Rukh Khan-Rohit’s previous work by a wide margin. Here is all you need to know about Dilwale in 5 points without actually watching the movie:
Raj (Shah Rukh Khan), a former don, is leading a changed life in Goa. His world revolves around his brother Veer (Varun Dhawan). Veer falls in love with Ishita (Kriti Sanon), who happens to be Meera’s (Kajol) sister. Raj and Meera’s paths had crossed in the past and that now turns into an obstacle for Veer and Ishita.
Speculation is rife that Dilwale is an updated/modified version of Hum (1991), but that’s not true at all. Most love stories navigate similar paths and Dilwale is no different. Rohit Shetty stresses on vintage stuff (love triumphs against all odds), but he along with screenplay writer Yunus Sajawal narrates it smoothly, peppering and garnishing the proceedings with sub-plots that keep viewers captivated, while the dialogue (Farhad-Sajid) acts as the icing on the cake. The twists and turns involving SRK and Kajol are clearly the USP of the enterprise. In fact, the two turning points in the love story, both in the first half, will catch the viewer completely by surprise.
Dilwale has its share of blemishes too. The film stagnates at regular intervals. The villain’s track could’ve been more persuasive, and the pre-climax, when things are sorted out between Shah Rukh Khan and Kajol, seems a little bit too convenient to be easily accepted.
The soundtrack (Pritam) gels well with the film. ‘Gerua’, filmed most exquisitely, is a rage already and definitely the pick of the lot. ‘Manma Emotion Jaage Re’ is another groovy track that has caught on in a big way (the social media is flooded with its Dubsmash versions and that clearly indicates its popularity). ‘Janam Janam’ is another soulful composition, while ‘Tukur Tukur’, which comes on during the end credits – it is a vintage track that’s mandatory in a biggie. The background score (Amar Mohile) is in sync with the on-screen situations.
Dilwale has a few incredible, but implausible, action pieces, but the stunts featuring Shah Rukh Khan are vibrant. Cinematography is top-quality and the DoP (Dudley) makes every frame appear larger-than-life. The panoramic locales of Bulgaria appear truly spectacular.