The second act of the three-act structure is the introduction of Preity. And Manisha is anything but that dark soul. Oh yes, imagine how sad the souls of those leading damaged lives. The second time is when she is advised by their head on how no one amongst the separatist members should be considered kin. The latter also instills a first-time perception in audience that she is fragile. First, love is beautiful in itself, but in a desert, it is altogether a different feel, and second, Manisha gets attacks of unknown nature, probably shown as a consequence of handling cyanide. The whole desert sequence, where Shah Rukh travels desperately with Manisha is even more beautiful because of two things. Interesting that Manisha is the love interest of the respective heroes in both the movies. After all, there are two moments in the film where the hero utters this dialogue. She is his life, yes, but her presence is in his heart, Dear Mani sir. But, a literal translation of “Dil Se” to “Uyire”, instead of “Idhayathula”, is disappointing. “Uyire”, the name is a tribute to the song from the movie Bombay, of the Director’s past work. Now, one can title a movie based on their past artistic works. “Enakula nee irukanu mattum theriyum, Idhayathula”. And he utters the dialogue, which is the crux of the movie. For voice without video, would add more imaginary sensory imagery working.Īnd tada, the hero finds his heroine again. He has to narrate about the scene of his love at first sight through a medium to his love interest. An army personnel would equally capture the essence. I conjecture it to be the darkness in the actions of wannabeliberationists, let alone their motives or past dark lives.Īny girl’s heart will skip a beat in the introductory railway station sequence, not for the beauty of wind and rain on Shah Rukh, but for the voice of Arvind Swamy, without whose voice the dialogues would have been unconvincing.įast forward, the hero works for the All India Radio.
The title track has full black background, reflecting the mood of the theme. Me: Dei machan, na Uyire ve paakala da, Dil Se epdi paathirpen. Guy, leaving his earlier typed gnanodhayam: Deepi, please don’t tell me you haven’t watched Dil Se. Me, interrupting: But how do you say that? Based on just this clip? Or, from the movie? Athu epdi desperation agum? Also, in OKK, let me She wants him leave and not bother her until her train arrives. In Dil Se, Manisha asks for chai to outsmart him. Me, continuing: And in the OKK train scene, isn’t Nithya Menon giving outright flirtatious reactions to the otherwise normal statements of Dulquer? Me: But Manisha smiles to his desperation before asking for that holy-chai, which from a girl’s perspective is desperation, I guess. Isn’t Shah Rukh desperate in the Dil Se railway station sequence? Guy: I am not asking you to watch the full three mins of the video. And it goes something like this (slightly edited, without loss of generality): The debate is on “Desperation through Opposite Gender’s Eyes”.
India has great actors- the film industry just doesn't know how to utilize them.A recent YouTube video on “Love through Mani Ratnam’s Eyes” by Netflix India stirred a debate in my friends WhatsApp group. are relegated to competing for potboiler non-roles that crown glamorous dance queens like Aishwariya, Amisha, Madhuri and ilk the top of the heap. It is a sin that such dramatically gifted actresses like Manisha, Tabu, Juhi, Nandita Das, etc. In a role of almost no dialogue, she speaks volumes through her reticent glances and a body language that is burdened by sorrow. Above all, however, Dil Se belongs to the luminously gifted Manisha Koirala, who delivers a crushing and skinless portrayal of a reluctant avenger. Rahman's songs are his career best, each of the six tracks more replendent than the last. Preity Zinta is the only glimmer of relief in this heavy handed tale of darkness and despair. Many of you may have forgotten, but once upon a time Shah Rukh Khan was a good actor, and this is easily one of his best performances. Mani Ratnam is at his best, producing what can only be called surreal realism. It is essentially a love story told against the backdrop of terrorism. It is not presented as a separatist polemic, nor should it be considered as such (as a lot of myopic viewers have done). "Dil Se" is easily the most cerebral film churned out by commercial Indian cinema in the last decade.