Pyar Tune Kya Kiya

Writer/director Rajat Mukherjee, however, spares Oberoi, the archetypal busy dad, fromthe usual ‘you have neglected your daughter through overwork’ kind of routine.This approach constitutes the film’s high point—unnecessary details are avoided,motives and parallel tracks are not explored beyond a point and loud emotionalexplanations are best left at the level of suggestion. Urmila’s descent into madnessdevelops straight-on as a sudden consequence of the situation. She falls for Fardeen whois a married man, very much in love with his wife. Unable to take the rejection, she picksup the knife after trying to act reasonable to the best of her ability.

In fact, Urmila’s character, her tight-trope walk between isolation andinvolvement, has been handled with care. The director was also wise enough to limit zanycamera angles, steadycam-operated histrionics and music video dazzle to astunningly-executed song. Here dialogues are interwoven into the musical text. The rest ofthe film is shot tightly against the backdrop of listless, dour spaces—a featuremostly of films made by Ram Gopal Verma, the producer. It seems Verma is doing the goodwork of creating a team of professionals around his style of filmmaking.

Sandeep Chowta’s music also explores, to a certain extent, thefun-gone-horribly-wrong theme of the movie. But for all its plus points, the movie suffersfrom a curious lack of ambition. It’s as if the director wanted to do more but gaveit up in the face of budgetary and other constraints.