[intro] PRDP is a winner made with outstanding production values and Hindi nativities that may not instantly appeal but the output grows on you just like Sooraj’s opuses did in the past.[/intro]
In 1994, when “Hum Aapke Hain Kaun” was premiered, many critics and cognoscenti of Bollywood believed that the film will be a superflop with 14 songs and no villain or violence. HAHK went on to become India’s biggest blockbuster after “Sholay” and continues to influence India’s soap operas and films which followed after that. Watching “Prem Ratan Dhan Payo” gives you a very similar feeling though the entertainment is not upto that mark as HAHK. Rajashri Productions which has given few but timeless jewels like “Dosti”, “Maine Pyar Kiya”, “HAHK” and “Vivah” brings a modern-age fable of a Family Royale set with modern sensibilities within the strict guidelines its film-makers have always believed in – outstanding production values, eye-popping extravagance, larger-than-life sets, great color schemes, characters that stand for unflinching integrity, a family oozing with regal qualities even if appearing dysfunctional for a moment.
Salman Khan is the eldest son of Prithampur Estate about to be coronated as Maharaja Vijay Singh but there is a problem. On way to invite his step-sister and back after a rebuttal, the chariot-driver sabotages him and pushes the chamber-van into the valley while he is sleeping. Vijay Singh survives but it will take months to recoup. Diwan Anupam Kher keeps him in a secluded spot and with help from Estate Manager are worrying how to present the prince at the coronation ceremony which sees a galaxy of guests. Enter Prem Dilwale, a look-alike of Raja Vijay Singh who stars in stage plays of Ramayan. He goes shopping to buy some goodies for a princess he adores – Sonam Kapur – who is said to visit Prithampur. The Estate Manager and Anupam Kher quickly press him into service asking him to pose as Vijay Singh for the ceremony. Prem agrees but finds that there is a lot to be mended in the palace where a neglected brother Neil Nitin Mukesh and his step-sister are either starved of attention or respect or both. Money is just a trigger for those emotions to burst out and Prem Dilwale with his rustic simplicity and down-to-earth charms endears himself to everybody winning them over. The climax is to find out who really planned the kidnap of the original prince which takes a few turns before the tale ends on a happy note.
Despite the length of 174 minutes, the film is fluent in its narrative and director Sooraj Barjatiya gives us a memorable film rich in the messages and subtexts he wants to leave you with. His style is to tell you the story and its structure as it unfolds at the outset itself and then to hand-hold you to all the roller-coaster ride of emotions that one experiences in the ride of seeing the story play. There are no manipulations, no forced drama and no gimmicks in the way of story-telling that is a miracle in today’s movies where zombie plots and outlandish figments of fiction dominate the landscape of most Bollywood films. Add to that the purity of Hindi nativities and the enduring appeal of family values – PRDP is a winner – that may not instantly appeal but the output grows on you just like Sooraj’s opuses did in the past. It will be a tragedy if the audiences cannot keep the flame of Rajshri Productions’ passion for films alive, generation after generation.
Salman Khan outshines in both the roles with gusto and substance. He has subjugated his eccentricities to match the characterisation of all other actors. Doesn’t appear young but within the shades of the two, he wins the hearts with the playfulness of Prem Dilwale – it is a memorable character in the never-ending march of his shirt-removing filmography. (Yes, he removes shirt in this film too). Sonam Kapoor is cute and beauty personified but she has to show us once whether she looks like a Diva without excessive makeup. Anupam Kher gives a standout performance as the trusted Diwan. As an integral part of Sooraj’s movies, he is a timeless actor who lets his actions speak louder than words. All other actors show their mettle – and for a change, Sooraj chose a lot many contemporary actors instead of stage artists from Marathi theatre as in earlier films. Technically, V Manikandan gives you a feast of colors and rich tapestries and elevates the characters and settings to grandeur. Music is an asset to the film. Himesh Reshmeya scores melodious songs which are also picturised well by Sooraj. Like in HAHK, there are ten songs in the film of which few are situational which doesn’t give you an impression of too many. The background score by Himesh and Sanjoy Chaudhary is haunting and dramatic. The title is a winner – find the treasures of love which not many understand but the message comes through in the title song well. When HAHK released, the critics panned it saying there is not even a street scene and everything is rich man’s world but everybody from poor to rich flocked to theatres to see it. IN PRDP, Sooraj shows some epic action scenes in Mirror Maze settings etc, and lot of scenes outside mansions which will connect well to the masses. In the end, it leaves you with heartwarming goodness. On the whole, this is the perfect Diwali film that families in India have been waiting for years. More power to you, Sooraj Barjatiya – there is always room for improvement in editing and theme-selection but with this film, you earned the spurs again. .
T360 Rating: 3.25/5
