Ek Deewana Tha is the story of Sachin, a 22 year old engineering graduate whos now struggling to make his career in the world of cinema. Sachin falls in love with Jessie who is beautiful, elegant, smart and classy. But Jessie belongs to an orthodox Malayali Christian family where watching movies, partying or falling in love a...more
Ek Deewana Tha is the story of Sachin, a 22 year old engineering graduate whos now struggling to make his career in the world of cinema. Sachin falls in love with Jessie who is beautiful, elegant, smart and classy. But Jessie belongs to an orthodox Malayali Christian family where watching movies, partying or falling in love are completely taboo. less
“Confused characters, dreadful acting, poor cinematography and a mushy script; Ekk Deewana Tha is another add-on to the list of easily forgettable rom-coms. Skip it!”
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Gautham Menon, who directed one of Hindi cinemas most memorable rom com the delightful Rehna Hai Tere Dil Mein, vanished for a considerable span to make films in South and saw reasonable success. With Ek Deewana Tha he returns to Hindi cinema with his new film advertised as a musical by maestros AR Rahman and Javed Akhtar. Quite contrary to the musical approach, this film is an extremely haphazard version of what ideally would be anyway a sloppy love story. Pratiek (Dhobi Ghat, Aarakshan) plays an overtly passionate lover who falls for his wealthy landlords pretty daughter living upstairs. Definitely not in the league of admirably chivalrous men, the lad eventually ends up just better than a roadside romeo trying awkwardly to woo this lass he cannot take his eyes away from. His sister is the ice-breaker and for their cute-meet, she is typically used and then forgotten. The coveted girl is Jesse a name you probably wouldnt want to hear for one full year after the film gets done. She narrates a number of obstacles in the unrealised romance like the caste barrier and the age difference. Above all of these is her not liking him either. After 11 hours, a few randomly placed songs, and inconsistently handled camera, you see shes irrevocably fallen for him for reasons quite irrational. Then three days later she thinks, Oh dude, this aint love. Momma-papaa are in distress. So poor Prateik is abandoned again. He jeopardized his career as an assistant filmmaker with Sholay director Ramesh Sippy to come all the way from the shoot to cover up to his girl. Shes hesitant and in a perpetual state of annoying indecisiveness. He has to let go.
Ekk Deewana Tha is one such annoyingly schmaltzy musical which has characters that remain in a consistently indecisive state and their feelings deep within fluctuate as promptly as their colour co-ordinated costumes see a change. Probably the director is trying to convey the confused mindset of the current generation, but the way he chooses his narrative, and further goes for an absurd twist ending for the lack of an appropriate closure leaves you heavily exhausted and infuriated by the end of it.
Equally distressing is the camera work of the movie which looks as if the director of photography had a brief spasm of Parkinsons. The archetypal trace of a South Indian film where the focus of the lens pans in abruptly, momentarily decking up the pace is again present and in a manner makes the Bombay backdrop difficult to process. This, I mention, because in Rehna Hai Tere Dil Mein, Menon made fantastic use of Bombay in his story.
After a point, the exaggerated sentimentalism gets on your nerves with the outdated dialogue on love and life gloriously philosophized. The random mood swings of Jesse and Sachins unaffected dedication, at one point, quite illogically dumb is too much a lesson on the zaniness of eternal love to really appreciate. This probably is a genre best mastered by Imtiaz Ali who catches the pulse and spontaneity of his characters and rounds them as delightfully lovable if somewhat conflicted souls.
Ekk Deewana Tha has conflicts on an escalated high and resolution, nowhere in sight. The conversation between the central pair is a perfect recipe to induce boredom and none of the actors have capabilities enough to hold your attention for three full hours.
Amy Jacksons Jesse sleepwalks through the movie with a permanent curious-confused gaze of a troubled damsel stuck on her face. Shes neither too attractive nor is she brilliant in emoting. The sheer irresistible screen-presence of Nargis Fakhri pardoned her failing acting skills but Jackson has none of that charm.
Prateik is reasonably well in portraying the passionate lover and a struggling filmmaker, though the latter is lazily ignored for most part, incorporated funnily at one stage in film where the makers couldnt think of going anywhere else.
Overall, Ekk Deewana Tha is best forgotten. I cannot find a single reason enough to recommend this claustrophobic dilemma of a film posing as a romantic musical. Avoid.