Haal-e-dil translates in English as ‘state-of-heart’. One only wishes director Anil Devgan would have shown some regards to the ‘state-of-mind’ of the audiences watching his film. After a point of time I completely lost count of the literal yawns, winks, whines, naps and sighs in the hall.
“Where logic stops, magic begins”, claims the hero of this film. Certainly the director stops use of logic but magic is clearly substituted by tragic outcome in this film. The hero Shekhar (Nakul Mehtta) makes a frothy and bubbly screen entry which actually means that he’s shaking a leg in his bathtub. Usually heroines resort to such entries but the actress here is too old for such antics. Or at least Amita Pathak appears likewise. Her characterization is as conventional as her screen name, Sanjana.
On his rail journey to North India, Shekhar seems to be hell-bent to flirt and fall in love with the girl-next-seat Sanjana, as if she were the last girl on earth. Sanjana seems to be as little interested in Shekhar as much as the audience is with the onscreen proceedings. From hereon the film tries to fruitlessly follow the Jab We Met route. Can you imagine the director tries to infuse anticipation at the interval point with the entry of Mukesh Tiwari, who plays a Sardar taxi driver! This gold-hearted Samaratin not just gives them free lifts but also cash credit in times of crisis. There’s also an encounter with a Veerappan clone.
The story subsequently leads to Sanjana’s hometown in Shimla where Shekhar sits on a weeklong hunger-strike to seek his love. Our heroine has senti-mental definitions for the seven wonders of world which include honesty, sensitivity, smile, patience, courage, sacrifice and love. While the film lacks the first three emotions, you need the following three to endure this love melodrama.
Not only do Ajay Devgan and Kajol appear for a bhangra item song in Gujarat, the family also donates Tanuja in the role of an absurd aunty-next-door with a bizarre behaviour. But none of his relatives can salvage the uninspiring direction of Anil Devgan.
Amita Pathak exudes a raw appeal but her cold character barely permits her to smile wherein she loses on a charming screen presence. Also she appears elder to her male costars who are flawed with amateurish performances. Adhyayan Suman (thankfully) has pretty less to do. Nakul Mehtta goes overboard with his animated act and you get immune to his antics by the end.
Haal-e-Dil chews your brains to the extent that you wish it were named as ‘Khaa-le-Dimag’