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Thumma Kiran’s Dil Deewana is not a good film. In fact it is not a film, because it does not follow any principle of film, much less the principles of storytelling. What it is is in fact a horribly prolonged commercial made to promote multi-retail brand outfits in the name of youth culture. The language of the film is doused in the cheapest forms of gender racial disparity, which we should apparently call as humour. Yes, ladies and gentlemen. Dil Deewana is not a film. It is a hall of horrors. One that unintentionally serves the need of critically examining our standards of cinema.
The film begins with a random youth party full of leather jackets and beer bottles around a campfire that mysteriously turns into a “I-have-a-sordid-past-full-of-tragic-love-stories” exchange session. Our protagonists, two comedians who are set up to exhibit the weirdest hairstyles and some of the worst dialogues ever written, begin to count their moments in love which then leads us to a flashback where we see the actual protagonists (read: two dudes, fair, tall and look like they could break into a fit of broad ranged emotional outbursts at any moment. Your basic Telugu cinema hero material) Then there are the respective love-interests and all the confused intersections of a world hidden within coffee shops, chaat bhandars, tourist destinations et al.
We are forced to believe that this youth and their unjustified lifestyles, their myriad problems and the “intimate” understanding they have of the world at large, are also the solution to their own problem. We are forced to choke down a senseless humour track that begins and ends with “skin colour and body height” and not to forget the severe gender disparities painted as a typical family life. Oh the horror. The horror.
As said earlier, Dil Deewana is not a good film. In fact it serves as an example of why we need to have a basic education of storytelling and why there is an urgent need for the censor board to raise its standards and be strongly critical of such films.