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February 22, 2002
Romance, action, comedy, suspense and intrigue --- all in one film. You wouldn't want more, would you?
What's more, Tumko Na Bhool Payenge entertains, too.
Set in rural Rajasthan, Tumko Na Bhool Payenge revolves around Vir (Salman Khan), the pampered son of a doting Thakur (Sharat Saxena) and Thakurain (Nishigandha Wad). Besides being indulged by his parents, Vir also enjoys the attention of playful fiancee Muskaan (Diya Mirza) and blabbermouth attendant Lalan.(Rajpal Yadav).
But Vir is haunted by ghosts. Vague visions haunt him at night. He also experiences a series of deja vus. Apparently, Vir had hurt himself gravely in childhood. As a result he suffers from temporary amnesia. Though that is not the reason for his unexplained encounters. Some suggest it is his head injury, others insist it is a case of past life.
The truth comes out when four long-haired, bearded goons loaded with guns rudely interrupt Vir's wedding proceedings.
Vir, it turns out, isn't Vir after all. He has a gory past waiting for him in Mumbai. Clueless about his lost identity, Vir comes to Mumbai and traces the missing links to Mehak (Sushmita Sen) and Inder (Inder Kumar). There is also a police commissioner (Mukesh Rishi) gunning after Vir's life.
But is he gunning after Vir or his lookalike Ali? Who are Vir or Ali, for that matter? Are they twins? Are they the same people? Does Vir figure out the lost pieces of his life?
You'll just have to watch the film.
Loosely based on The Long Kiss Goodnight (Geena Davis), Tumko Na Bhool Payenge can be divided into two parts. The first half is lighthearted and builds the suspense. The second half is brisk-paced with some good action sequences. The film could have done away with some of the songs that serve no purpose.
Glitches come in the form of inconsistent dialogues. All the rural characters switch from the Ka kahat rahe ho, bhaiya? [What are you saying, brother] mode to proper Hindi, as per their whims and fancies.
Gimmicks like Salman Khan posing against an Aishwarya Rai mannequin and admiring her beauty or carrying candid (Tehelka) cameras to record illegal transactions between politicians and cops also do not go unnoticed.
The film has its share of thrilling moments --- for instance, the image associations of Salman Khan connecting the present with his past.
Tumko Na Bhool Payenge is not a performance-oriented film, so there's not much to go by. Salman Khan's transition from a timid, happy-go-lucky fellow to a tough-as-nails, man-on-a-mission is far from convincing. In most parts he is expected to look distressed and disinterested, which he does fairly well. Salman's skimpy and colourful wardrobe comprises lyrcas, chiffons, Chinese collars, silk dhotis, sequined shirts and some drastic costume jewellery. Quite a haul, that.
Diya Mirza (Rehnaa Hai Terre Dil Mein, Deewaanapan) exudes oodles of screen presence but her facial expressions are strictly limited.
Sushmita Sen, who shows up only in the second half, is a treat. She utters the silliest lines with conviction and dances like a dream, thanks to Farah Khan's spunky choreography.
King of comedy Johny Lever has you in splits in his brief cameo as a fraud Sadhu baba. Rajpal Yadav is atrociously loud and unnerving.
Known for his thrilling, fast-paced approach to moviemaking, director Pankaj Parashar may not have a Jalwa or Chaalbaaz here, but his well-structured plot and technical wizardry in Tumko Na Bhool Payenge is better than his last attempts --- Rajkumar and Himalayaputra.
If you are looking for popcorn entertainment this week, look no further than Tumko Na Bhool Payenge.
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