6 Reasons why Dil Se is one of my Favourite Movies
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1. The plot of "Dil Se" is much maligned, but I have always believed that it is one of the movie's strongest points. The first time I watched this film, I was not too sure why people did what they did - why did Manisha leave him randomly? Why was Shah Rukh Khan running after her, and not telling the police what he knew? Why did the terrorist guy run away from Shah Rukh when he saw him? I think, the reason why this plot draws you towards itself when you watch it the second time, is because these questions begin to get answered, and you know that every action of every character has more meaning to it than you first imagined!
At some point in our lives, we have all come across this one woman who draws you towards herself, inexplicably, and the more she uses you, the more you want her to use you. You are drawn to her without understanding why.You know she doesn't care about you, and that attracts you even more. This is why the plot is simply astounding - it takes this emotion and exaggerates it, and in a slow transformation, turns everything on its head leading to the chilling climax! The hallmark of a great film is that you think about it way after you've finished watching it, and I have found myself thinking so many times if there was any other way this film could have ended. The predicament of the characters is so intricate that the ending somehow seems like the only way in which they could be together.
2. I have always believed that in cinema, drama and storytelling in general, subtlety is a virtue. "Taxi Driver" tells you so much about Travis Bickle without expressly saying it. Neither Allen nor Keaton in Woody Allen's "Annie Hall" say "I love you" throughout the film. Closer home, Santosh Sivan's "The Terrorist" hardly has any dialogue. In Mani Ratnam's "Nayakan", Kamal Hassan conveys so much without saying much. In Capek's most famous play - "RUR", you realise the gravity of his message when the last line of the play, "Go, my Adam and Eve," is delivered (I have never seen it being performed, but I can imagine the effect!).
Same way, the twist in the plot is so subtle, that one hardly notices it build up - Manisha is being drawn towards Shah Rukh throughout. The second viewing of the film, in the entire scene between the two of them at the campfire in Ladakh discussing the three things they like the most, where they almost kiss, had me in complete awe. They don't kiss, but you feel the energy between them more strongly than in any Mallika Sherawat scene or Hollywood movie - definitely one of Cinema's Ten Greatest Kisses! The only time Mani Ratnam makes it obvious that she loves him is towards the end, when she asks him, "Amar, tum theek to ho?" on the phone, and when he says to Priety, "If I talk to her, she won't do it!"
3. This movie is directed by Mani Ratnam, but Santosh Sivan's cinematography is a standout, and deserves special mention. The film looks so unbelievably good - I can think of only "Omkara" and "Lakshya" as other Indian films that have looked this good. There is Mani Ratnam's characteristic strong back lighting with front lighting just bright enough for us to make out the features, with a key/source light that sets the mood for the scene. Again, I go back to the scene at the campfire - it just looks so good! Almost every shot of the film is desktop wallpaper material. (In this regard, 2001 and Barry Lyndon are so beautiful that EVERY shot is desktop wallpaper material). Every landscape in the film - Assam, Leh and Delhi are captured so well, that every scene has character - typical of Santosh Sivan.
"Chaiyya chaiyya" shot on a train is a continuation of Ratnam's obsession with trains - watch Thalapathi, and the climax in Thiruda Thiruda, and it is shot so well that it deserves a special mention.
4. There is one little scene in the movie that deserves extra-special mention. Just like that insane splitscreen scene in Requeim and that scene in 2001 where the guy is taking a jog on the Jupiter spaceship, this scene is unbelievably good and remained in my mind as the one image that defined the movie. The two of them are at the AIR office corridor with light coming from one little hole in the door, and every time the door opens, there's full light on her face. The dialogue that goes on between them is the summary of the movie. He asks her why she left him and why she's come back now looking for him, and says she will not get the job unless she answers the question. She walks away, refusing to answer the question. And, he tells her, "Don't go away. You have the job."
5. The fifth reason is the soundtrack. It ranks amongst Rahman's best, a feat in itself, with Meenaxi, Thiruda Thiruda and Kannathil Muthamittal - the rest of his work comes in after that. From "Chaiyya Chaiyya"'s energy, to the pain in "E Ajnabi", to the pounding base line in the title track to Kavita Krishnamurthy's randomness in "Satrangi Re", each song in the soundtrack has a character - a feature missing in say Lagaan (although credit must be given to him there for creating a distinct sound for the movie).
The soundtrack that runs during the movie is even better. Instead of punctuating the action like in Lagaan and Swades giving the viewer emotional cues, this soundtrack becomes a part of the image itself, haunting and repetitive, creating an aura around the image.
6. People have told me so many times that Shah Rukh cannot act and his characters are all the same. I have always disagreed. Not for a second in this movie is Shah Rukh smooth with the women - compare this to his role in DDLJ, Kuch Kuch Hota Hai, K3G and so on where there are women all over him - his outwardly maturity and his inexplicably intense, obsessive love on the inside come across beautifully. Manisha conveys so much with just her eyes, and Priety Zinta is excellent in what I believe is her best role to date. When she asks Shah Rukh if he's a virgin, the expression on both their faces is simply too good!
At some point in our lives, we have all come across this one woman who draws you towards herself, inexplicably, and the more she uses you, the more you want her to use you. You are drawn to her without understanding why.You know she doesn't care about you, and that attracts you even more. This is why the plot is simply astounding - it takes this emotion and exaggerates it, and in a slow transformation, turns everything on its head leading to the chilling climax! The hallmark of a great film is that you think about it way after you've finished watching it, and I have found myself thinking so many times if there was any other way this film could have ended. The predicament of the characters is so intricate that the ending somehow seems like the only way in which they could be together.
2. I have always believed that in cinema, drama and storytelling in general, subtlety is a virtue. "Taxi Driver" tells you so much about Travis Bickle without expressly saying it. Neither Allen nor Keaton in Woody Allen's "Annie Hall" say "I love you" throughout the film. Closer home, Santosh Sivan's "The Terrorist" hardly has any dialogue. In Mani Ratnam's "Nayakan", Kamal Hassan conveys so much without saying much. In Capek's most famous play - "RUR", you realise the gravity of his message when the last line of the play, "Go, my Adam and Eve," is delivered (I have never seen it being performed, but I can imagine the effect!).
Same way, the twist in the plot is so subtle, that one hardly notices it build up - Manisha is being drawn towards Shah Rukh throughout. The second viewing of the film, in the entire scene between the two of them at the campfire in Ladakh discussing the three things they like the most, where they almost kiss, had me in complete awe. They don't kiss, but you feel the energy between them more strongly than in any Mallika Sherawat scene or Hollywood movie - definitely one of Cinema's Ten Greatest Kisses! The only time Mani Ratnam makes it obvious that she loves him is towards the end, when she asks him, "Amar, tum theek to ho?" on the phone, and when he says to Priety, "If I talk to her, she won't do it!"
3. This movie is directed by Mani Ratnam, but Santosh Sivan's cinematography is a standout, and deserves special mention. The film looks so unbelievably good - I can think of only "Omkara" and "Lakshya" as other Indian films that have looked this good. There is Mani Ratnam's characteristic strong back lighting with front lighting just bright enough for us to make out the features, with a key/source light that sets the mood for the scene. Again, I go back to the scene at the campfire - it just looks so good! Almost every shot of the film is desktop wallpaper material. (In this regard, 2001 and Barry Lyndon are so beautiful that EVERY shot is desktop wallpaper material). Every landscape in the film - Assam, Leh and Delhi are captured so well, that every scene has character - typical of Santosh Sivan.
"Chaiyya chaiyya" shot on a train is a continuation of Ratnam's obsession with trains - watch Thalapathi, and the climax in Thiruda Thiruda, and it is shot so well that it deserves a special mention.
4. There is one little scene in the movie that deserves extra-special mention. Just like that insane splitscreen scene in Requeim and that scene in 2001 where the guy is taking a jog on the Jupiter spaceship, this scene is unbelievably good and remained in my mind as the one image that defined the movie. The two of them are at the AIR office corridor with light coming from one little hole in the door, and every time the door opens, there's full light on her face. The dialogue that goes on between them is the summary of the movie. He asks her why she left him and why she's come back now looking for him, and says she will not get the job unless she answers the question. She walks away, refusing to answer the question. And, he tells her, "Don't go away. You have the job."
5. The fifth reason is the soundtrack. It ranks amongst Rahman's best, a feat in itself, with Meenaxi, Thiruda Thiruda and Kannathil Muthamittal - the rest of his work comes in after that. From "Chaiyya Chaiyya"'s energy, to the pain in "E Ajnabi", to the pounding base line in the title track to Kavita Krishnamurthy's randomness in "Satrangi Re", each song in the soundtrack has a character - a feature missing in say Lagaan (although credit must be given to him there for creating a distinct sound for the movie).
The soundtrack that runs during the movie is even better. Instead of punctuating the action like in Lagaan and Swades giving the viewer emotional cues, this soundtrack becomes a part of the image itself, haunting and repetitive, creating an aura around the image.
6. People have told me so many times that Shah Rukh cannot act and his characters are all the same. I have always disagreed. Not for a second in this movie is Shah Rukh smooth with the women - compare this to his role in DDLJ, Kuch Kuch Hota Hai, K3G and so on where there are women all over him - his outwardly maturity and his inexplicably intense, obsessive love on the inside come across beautifully. Manisha conveys so much with just her eyes, and Priety Zinta is excellent in what I believe is her best role to date. When she asks Shah Rukh if he's a virgin, the expression on both their faces is simply too good!
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2 replies:
was delighted to find someone else who loved this movie as much as i did..to add to wat u said, i ll list out some parts which really caught my attention..
when they put the jewellery on manisha and shahrukh watches her reflection on the mirror..her expression goes dead and he watches her for a few seconds in agony and then turns away..
when she goes up to call him and he hides behind the door and hands her the earphones with their conversation at ladakh playing..the pain on her face and pleading on his...
the scene where she takes the pledge in the rain and the reluctance with which she does it ..
the song dil se...where he imagines being her knight in shining armor and saving her in a terrorism ridden assam..
the scene in the market with her group leader where he suspects her...he asks if amar suspects anything..and she say 'nahi, woh bahut bhola hai' and he asks 'aur kya hai woh' and promptly reminds her of her mission..
as for the scene in the AIR office corridor..seldom seen anything shot tht well...
One point really stands out in what you said: "the song dil se...where he imagines being her knight in shining armor and saving her in a terrorism ridden assam.."
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