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Of course, the similarities could be a mere coincidence, but the fact remains that the two films, despite similar genre, cannot be compared because they're as diverse as chalk and cheese. In terms of performances and execution.

While the man in AITRAAZ [Akshay Kumar] doesn't give in to the temptations, the man here [Jatin Grewal] gives in to his lady-boss' demands, with the wife joining a rival firm to take the lady-boss to task and settle scores.

The motive behind CHETNA - THE EXCITEMENT is pretty evident as the story unfolds: Titillation. And there are sequences that the viewer may find 'hot'. But when viewed in totality, the outcome is plain mediocre.

Chetna [Payal Rohatgi] is a shrewd businesswoman in Dubai. She is of the firm belief that with a beautiful body, scheming mind and pots of money, a woman can get away with anything. The only mistake that these women shouldn't commit is to fall in love.

Sameer [Jatin Grewal] arrives in Dubai with his wife Aastha [Navneet Kaur] and gets a job in Chetna's company. On the first day itself, Sameer confronts Chetna with the issues plaguing the company. Chetna takes a liking for him and gets him promoted.

Later, Chetna tries to seduce Sameer, but he doesn't succumb to the temptation. In fact, Sameer decides to quit the job, but due to an undertaking while joining Chetna's company, he is unable to do so. He is left with no alternative but to comply with Chetna's physical demands.

Chetna commits the mistake of falling in love with Sameer. In the meanwhile, Sameer's wife gets to know of the extra-marital affair and decides to walk out on her husband and joins Chetna's rival [Kiran Kumar]. In the end, Aastha succeeds in ruining Chetna. It's also revealed that Sameer had been with Aastha all along and had together devised plans to ruin her.

Most film-makers resort to an uninhibited exposure of female anatomy in subjects such as these, whether or not the situations warrant it. CHETNA - THE EXCITEMENT also has its share of titillation, courtesy Payal Rohatgi.

There's a story as well, but while the first half has a few interesting moments, the post-interval portions turn routine, partly because the writer hasn't been able to create the excitement that one looks forward to in a thriller. Even the finale, which could've been the turning point of the film, is tame and tepid.

Director Parto Ghosh makes a sincere attempt to strike the right balance between drama and titillation, but is letdown by a not-too-inspiring script. Music [Daboo Malik] is nothing much to hum about. Cinematography is appealing, with the visuals of Dubai giving the film a rich look.

Payal Rohatgi does the dare-bare part without any apprehensions, but needs to go easy on her expressions at times. Navneet Kaur is alright. Jatin Grewal needs to loosen up more as an actor. Kiran Kumar is wasted. Mushtaq Khan is passable.

On the whole, CHETNA - THE EXCITEMENT is an ordinary fare. At the box-office, it might appeal to the frontbenchers at smaller centers.


Jha's sinister, sordid and ceaselessly appalling view of patriarchal perversity is at once shocking and intolerable. As in Shekhar Kapur's "Bandit Queen", the immediate impulse while watching this film is to turn away and walk out.

As you watch the film's only female character, Kalki, being ravaged in every conceivable corner of the astutely created rustic home, you wonder where the line between social criticism and artistic licentiousness blurs, and how far a filmmaker can transgress the dividing line between aesthetics and realism without seeming to violate the basic codes of filmmaking.

Not that the rape of Kalki is ever titillating...God forbid! If anything, Jha's perception on sexual aggression is so blunt and violent it could put the audience off sex forever.

In sequence after sequence a cloistered and crude family of five men and their father march into poor Kalki's bedroom to get their pound of flesh. In a grotesque parody of Draupadi and her five Pandava husbands in the Mahabharat, Kalki is shown as a playpen of masculine perversity.

Watching Kalki's brutal sexual exploitation by bestial specimen of the male gender is certainly not "entertaining". One isn't very sure how far Jha's tormenting and nightmarish treatise on sexual subjugation and domination could qualify as cinema, let alone pure cinema.

The purity - if one may call it that - of Jha's vision originates largely from his ability to stare unflinchingly at socio-cultural discrimination and barbarism. Scenes of gender and caste carnage are so strongly violent they make similar moments in Prakash Jha's "Damul" and "Mrityudand" look like teaser trailers.

Indeed, the director's perceptions on mob violence are stunningly upfront. Manish Jha goes into lives in rural Bihar and its accompanying anarchy with a frightening detachment. He's neither shocked nor appalled by how cruel humankind can be to its own kind.

Jha never allows us the luxury of a smile. He's dead serious about his grim intentions.

We come out of "Matrubhoomi" battered and ravaged by its oppressive command over the language of sexual tyranny. The sex act has never been more denuded of eroticism. And you applaud the way in which the narrative makes Kalki a force to reckon with, without sentimentalising her plight.

Beyond a point "Matrubhoomi" becomes tortuously redundant in its vision. Watching the woman's relentless rape is tantamount to hammering in a point beyond the desired impact.

Deliberately, Jha desists from softening the blow. There are no 'gentle' men in "Matrubhoomi" except Sushant Singh who plays Kalki's youngest and gentlest spouse. Their moments of shared romantic respite are quickly and cruelly nipped in the bud.

Singh's fratricide - this is the second film in two weeks where a brother slays his own - signals the complete death of compassion in Manish Jha's world of maniacal masculinity. Thereafter Kalki encounters just two affectionate men, both underage and both servants in her high-caste in-laws' home.

What stuns you beyond reason is the director's unblinking barbarism of vision. What makes Jha so passionately cynical about the man-woman axis in rural India? Where does the film's mind-blowing vision of masculine morbidity originate from?

Pictures of a civilisation gone to seed have ranged in cinema from Raj Kapoor's "Jagte Raho" to Steven Spielberg's "War of The Worlds".

It's impossible to categorise Jha's take on sexual terror. Cinema per se entails a sense of liberation, a feeling of lyricism, if you will. Even the raw and real "Bandit Queen" was at the end of the dread a vendetta tale where the casualty of oppression finally got her revenge.

Though "Matrubhoomi" ends on a positive note, it remains to the end an essay of doom. From the time the unspoilt Kalki is spotted by the predatory pundit to her marriage to five husbands by her avaricious father and disgruntled sections of the caste-pillaged village...."Matrabhoomi" remains a saga of the damned.

Starring: Tulip Joshi, Sudhir Pandey, Sushant Singh, Piyush Mishra
Directed by Manish Jha.

My Wife's Murder

They say marriages are made in heaven.
They also say “Till death do us part.”
And while the first may be anyone's guess, what happens when the second comes, horribly true?

Have you ever thought about killing someone close to you? In Anil Kapoor's upcoming My Wife's Murder, that dilemma is explored deeply. The actor feels it's his best film ever. Ravi Patwardhan (Anil Kapoor) is a simple middle class man trying to etch out an existence for himself and his family. The only joy in his life is his editing studio and his job where he works on tight schedules and even tighter deadlines, along with his faithful assistant Reena (Nandana Sen).

He is constantly pestered at his home by his wife (Suchitra Krishnamurthy) who persistently mistrusts on him, until one fine day he gets pushed a bit too far.

Ravi's possessive, controlling wife, she doesn't often stop short of nagging. She frequently drives the mild-mannered man to absolute fury. And now she's dead.

What do you tell the kids? The innocent ones obviously can't be told straight out that their mom is dead. So the protective father instinctively decides to hide the truth from them.

But how long can daddy keep the lie alive? And then there's the cop. Inspector Tejal Randhawa, in particular, doesn't quite like Ravi. Boman Irani plays the sadistic cop.
And he's got the suspect in his unflinching sights.

Isn't there always another woman? Ravi is an editor, and shares studio-space with Reema, played by Nandana Sen. His wife always suspected them of having an affair. Ravi always denied this.

So what becomes of Ravi and Reema now, with no wife to consider? The film is directed by first-timer Jijy Philips, who assisted Ram Gopal Varma on Bhoot. The Hitch*****ian thriller was written by Varma -- among the first scripts he ever wrote. Anil Kapoor liked the script so much that he decided to co-produce the film with Ramu. My Wife's Murder is expected to hit theatres in August.

My Wife's Murder explores the mind of the married man-on the run.

Producer: Ram Gopal Varma, Anil Kapoor.
Director: G. G. Philip.
Cast: Anil Kapoor, Suchitra.


Sure, the screenplay writers Yash and Vinay have borrowed huge chunks - sometimes without alteration - from several Hollywood action flicks. And the whole cool-dude attitude that every protagonist wears like designer clothes is straight out of the ultra-chic "Men in Black" prototype that serves as an imperialistic role model for large-screen heroism.

Nevertheless you have to hand it to Anubhav Sinha. He handles the extra-large canvas and cast with pulsating panache. The hectic but steady narrative never allows us to dwell on the absurd and wild liberties taken with time and space to accommodate the breakneck pace.

As Sinha transports his characters from Delhi to Calgary on a mission to save the world (or is it just the Indian prime minister?) from international terrorism, he makes sure the film doesn't take itself too seriously.

"Dus" is an interesting mix of action and reaction, of satire and spoof, of desire and frisson. The characters are derived from westwards but driven by homespun emotions. While they wear their languorous attitude till the last dying scream on the superbly assembled soundtrack, they also take time off to do their dal-chawal act.

There's a contrived engagement song where Sinha lets us know in subtle hints that there is a kind of triangular tussle between the bride-to-be (Dia Mirza, in a blink-and-miss role) her fiancée and Zayed Khan who's the bride's brother Sanjay Dutt's subordinate.

But it's the men who matter. After "Sarkar" last week here again is a film that focuses on masculine motivations with almost single-minded devotion, so much so that even Shilpa Shetty is one of the guys. Tall lissome and utterly devoid of oomphy coquettishness she delivers the kick in the villain's groin with as much panache as her male colleagues.

The bum-chum camaraderie among the men doing state-sanctioned espionage work has never been better. Abhishek Bachchan and Zayed Khan are masterfully cast against each other (much more so than Bachchan and Uday Chopra in the similarly-mooded Dhoom).

Their constant squabble specially about claiming the attentions of their boss and idol Sanjay Dutt, lends an edge of ironical sentimentality to what's predominantly a sharp shoot from the hip.

As for the plot... not much there, I'm afraid. The one-liner about a group of anti-terrorists preventing a designer-armageddon is filled out rather sumptuously with characters that seem to have lived a life beyond the camera. Fortunately for the febrile fabric of the volatile tale, the technique applied to the characters' conflicts isn't namby-pamby.

Though shot in scenic Calgary, Vijay Arora's cinematography is more attuned to the characters than you'd generally discover in a saga celebrating the dudes' dynamism. But the editing gives the director's music-video antecedents away.

Repeatedly the shots are syncopated and rendered unnecessarily terse. Moments of tension and drama are lost in the wild endeavour to scamper to the finishing line without losing the audience's interest.

The director understands the dynamics of an action film well. Though modelled on indigenous sources the narrative never looks alienated from our soil. That fine but neglected actor Ninad Kamath's cameo as a traitorous patriot lingers after the shimmering shindig. He's framed in a borrowed way. But his thoughts, we can almost see, are purely desi.

At the end, the triumph of "Dus" is the triumph of eye-catching packaging. Every component gets its fair share of stare from the absorbed viewer. Every sequence has a well-coordinated blueprint to see it ahead of the audience. Barring a few women characters (like Esha Deol) everyone is in-sync with the mood of a gathering storm, albeit in a stylish teacup that Anubhav Sinha has created.

The performances are uniformly endearing. Sanjay Dutt as the group leader is vulnerable strong and conflicted. The hint of a relationship with Shilpa Shetty is given a dignified place in the narrative. Suniel Shetty as a cop battling inner demons gets into the swing of things.

Pankaj Kapoor takes away a large slice of the punch lines and audiences' attention. His accent, body language and unpredictable outbursts of emotion are grandiose and yet meshed well into the narrative.

But the film finally belongs to the Zayed-Abhishek pair. Zayed's baby-brat place in the task force gives him a chance to evince a smile from the audience. He makes the best of the opportunity. For Abhishek, "Dus" is one more step ahead for the rapidly evolving actor. His death sequence ensures him the maximum ovation from the audience.

As for casting, the achingly young and pretty Raima Sen as Suniel Shetty's pregnant wife... where did that come from?

Starring: Sanjay Dutt, Abhishek Bachchan, Shilpa Shetty, Zayed Khan, Suniel Shetty, Esha Deol, Raima Sen, Pankaj Kapoor
Director: Anubhav Sinha


SEHAR has a one-dimensional plot, which may sound interesting on paper, but when translated on celluloid, it just doesn't appeal. The plot and setting may've excited the storytellers [the director, the writer, the producers, the actors], but it may not necessarily excite a moviegoer seeking entertainment-driven content.

Besides, SEHAR may be an honest effort that chronologically documents the life of a heroic cop and his fight against a gangster who spread terror in a state [U.P.], but neither are the incidents well-known to the majority nor the gangster so notorious that it would make the viewer bite his nails to watch the real characters get immortalized on reel.

SEHAR delineates the journey of a newly-appointed 31-year-old S.S.P. of Lucknow, Ajay Kumar [Arshad Warsi], instrumental in bringing together a group of committed police officers under the aegis of Special Task Force.

The Force, bequeathed with a single agenda, succeeds in challenging the might of organized crime in Uttar Pradesh.

And in the process, what unfolds is the ever-changing dynamics of Uttar Pradesh's siyaasat: Railway contracts, ISI involvement, politician-mafia-police-builder nexus, rigid red-tapeizm and criminalization of University students.

The problems with SEHAR are manifold…

One, the cop versus criminal saga has been beaten to death by Bollywood film-makers. KHAKEE, AAN, POLICE FORCE, DEV, KAGAAR, AB TAK 56, SATYA BOL, GARV and ZEHER [the list is endless!], there has been a deluge of 'men in uniform' films in the recent past. The plot and setting may vary, but the essence remains the same.

The director has taken care to present the facts in the most realistic fashion, but the narrative being one-dimensional it gets cumbersome and boring after a point. All you get to see are cops chasing gangsters, spraying bullets and butchering them in the most brutal fashion or gangsters chasing commoners and eliminating them in broad daylight. Sorry, the blood and gore gets on your nerves after a point!

Three, the rise of a gangster, the politician-gangster nexus, the police encounters, SEHAR comes too late in the day. Hasn't the moviegoer witnessed all this and more in the past?
SEHAR disappoints big time as far as the content is concerned. There's not much meat in the narrative to keep the viewer glued to the screen for the next 2.30 hours. Even the execution of the subject caters to a tiny segment of viewers. The local flavor restricts its appeal further.

SEHAR has just one song [the romantic track], but the song and even the romance bit looks forced in the narrative. Perhaps, the director wanted to balance realism with make-believe, but the romantic bit looks completely out of sync.

Any redeeming points? Yes, a few deft strokes, especially the climax, filmed in a moving train. Prior to that, the sequence when the cops rescue a kidnapped kid from the clutches of the gangsters is well executed.

The thrills here are not those involving fisticuffs, but using pistols. Cinematography is up to the mark. The background score is alright. Dialogues gel well with the mood of the film.

Cast in a serious role, Arshad Warsi gets into the skin of the character and proves his versatility as an actor. But post MUNNABHAI M.B.B.S. and HULCHUL, the actor's image is more of a funster than a serious cop and that will come as a shocker to his hardcore fans. Mahima Chaudhary has been cast for the glamour bit than taking the story forward. Pankaj Kapoor is noteworthy. Sushant Singh does his part effectively. Suhasini Mulay is first-rate.

On the whole, SEHAR is a dull and dry subject that will appeal to a very thin segment of moviegoers. At the box-office, however, it will be a non-starter.


Debutante director Shoojit Sircar also sets a love story in the valley. But this one is different: It talks of an army officer falling in love with a local girl. An interesting concept without doubt, as far as the premise is concerned.

But there's always a slip between the cup and the lip…

…YAHAAN may be well intentioned, but it lacks the punch associated with a genre that tries to amalgamate romance with thrilling moments. The grip, so essential in a film like this, is missing here and that's its biggest undoing.

The problem with …YAHAAN is that it takes its own sweet time to come to the point. After introducing the principal characters, the story doesn't move at a brisk pace in the first hour. You've seen all this and much more -- the insurgency, the role of the armed forces, the plight of the locals in the wake of terror, et al -- in the past.

In a nutshell, it's like any other ordinary love story!

…YAHAAN is the story of an Indian Army Captain, Aman [Jimmy Shergill], who falls in love with a local girl, Adaa [Minissha], while the officer is posted in Kashmir.

The unwritten law debars women of the valley to have any relations with an outsider, but Adaa takes on the risk and faces the consequences.

Aman and Adaa decide to combat the inflexible rules and face strong opposition in the process.

To start with, director Shoojit Sircar is letdown by an uninspiring script. Sircar and his team of writers [Piyush Mishra, Somnath De, Sameer Kohli and Sircar himself] should've come up with a screenplay that would've kept the viewer on the razor's edge, but the writing is so mediocre that one keeps wondering, What really prompted the makers to choose this subject in the first place?

In the second hour, a few sequences are well penned and executed indeed, like the meeting/confrontation between Yashpal Sharma and Jimmy Shergill. A few twists and turns in the post-interval portions also catch you by surprise. But sequences such as these are few and far between.

However, the portions that depict Minissha running from pillar to post to safeguard Jimmy's life and reputation remind you so much of ROJA. The climax, when Minissha approaches the television channel to prove Jimmy's innocence, looks completely far-fetched and is difficult to absorb. Ditto for her speech, which is very melodramatic. Besides, placing the speakers outside the mosque so that the terrorist [Yashpal Sharma] has a change of heart, appears formulaic and filmy.

As a storyteller, one fails to understand why Sircar chose to narrate the story with a hand-held camera [cinematography: Jakob Ihre]. The frames are shaky all the time, which can get quite distracting for the viewer. It also leaves you with a feeling that you're watching a documentary. Even the blue tint throughout the film takes the sheen away from the enterprise.

Where ROJA scored and where …YAHAAN falters, besides a taut screenplay, is in its music [Shantanu Moitra]. Barring a soft number, 'Pooche Jo Koi', the film lacks a melodious score to compliment the love story. Dialogues [Piyush Mishra] are natural at times, but routine/run-of-the-mill at most places.

…YAHAAN rests on Jimmy Shergill's shoulders and the efficient actor enacts his part with utmost conviction. The actor delivers a commendable performance all through. Newcomer Minissha is awkward at places, but quite confident at times. Overall, a decent debut.

Mukesh Tiwari and Yashpal Sharma are alright. The actors playing the roles of Minissha's father and grandmother [Dolly Ahluwalia] stand out with convincing portrayals.

On the whole, …YAHAAN could've been a riveting saga, but turns out to be a bland product. At the box-office, …YAHAAN has limited prospects.

7 ½ Phere

7 ½ PHERE not only looks at a traditional Indian marriage, it also talks of strategies adopted by television channels to increase their viewership by installing spycams and making public the juiciest details/hidden skeletons concerning individuals/family.

A fascinating concept without doubt, thankfully 7 ½ PHERE is interestingly handled as well. Of course, there's no denying that the film has its share of loose ends, but the light moments and the sequence of events keep you engrossed for most part of the first half mainly.

However, 7 ½ PHERE could've done better with some superior actors and better production values. The absence of known names, barring Irrfan and Juhi, as also the making, which lacks finesse, act as road blocks in the film.

7 ½ PHERE has a novel story to tell. And director Isshaan Trivedi handles the light moments with flourish. The split personality of almost every character is well depicted and like MONSOON WEDDING, the film looks at issues that one comes across in today's modern society.

Asmi [Juhi Chawla] has been entrusted the task by her television channel to cover a reality show. There's a marriage in the Joshi family and when Asmi offers the proposal of covering the event for the TV network, the family stands divided on the issue.

The bride's father is willing to go along with the idea, but a few members in the family find the idea ludicrous. Manoj [Irrfan Khan], the bride-to-be's youngest uncle, develops a soft corner for Asmi.

Getting an inkling of Manoj's feelings, Asmi decides to use him for the project. Asmi gets hidden cameras installed in the house and as the hidden cameras begin to roll, the skeletons begin to tumble out of the Joshis' closet. Chaos and confusion reigns supreme, until Manoj realizes that he has opened up the Pandora's box.

Loosely inspired by Ron Howard's Hollywood film EDTV [1999; starring Matthew McConaughey, Jenna Elfman], 7 ½ PHERE has an interesting premise, a theme that hasn't been attempted in Bollywood earlier. With a novel theme as its USP, the director has packed the narrative with a series of interesting incidents that would bring a smile on your face.

But there's no denying that 7 ½ PHERE would've emerged as a foolproof entertainer had the writing been consistent all through. While the first half has several arresting moments, the pace slackens in the post-interval portions since the focus suddenly shifts to various sub-plots, including Juhi's aspirations of becoming a topnotch director as also the love story of the aged couple [Anang Desai, Neena Kulkarni], besides the long-drawn sequence between the bride and the groom in the penultimate reel. Also, the film would've had a better impact had the length of the second half been concise.

Director Isshaan Trivedi has handled the light moments well, but he could've kept the screenplay in check, besides making the second half as interesting as the first. Cinematography is alright. Dialogues are the highpoint of the enterprise.

Talking of performances, both Irrfan and Juhi vie for top honors. The general perception about Irrfan is that he looks best in roles that demand intensity, but the actor is a delight to watch in a role that requires him to be witty all the while. He is simply adorable!

Juhi is first-rate yet again, although she needs to keep a check on her weight. Among character actors, Sri Vallabh Vyas and Neena Kulkarni are the best.

On the whole, 7 ½ PHERE is a fairly decent entertainer that holds appeal for those who prefer light entertainers. At the box-office, 7 ½ PHERE is more of a big city film that would've fared much better had it released during an open week, backed by more hype.

Mangal Pandey - The Rising

The movie opens on the British colonial rulers who are living a high standard of life at the expense of the local people. This causes widespread resentment.

To make matters worse, the British are using the Indians as sepoys - the infantry of the army, to control and regulate the population.

After a hundred years under the rule of the British Raj, the people of India are fed up. They now crave for a change in the form of Independence.

Meanwhile, the story deviates on one sepoy by the name of Mangal Pandey (Aamir Khan). He rescues his British commanding officer, William Gordon (Toby Stephens) during one of the battles.

As a result, a strong friendship and binding loyalty builds up between the two characters.

But this friendship is soon challenged, first by arrival of a charming and beautiful young aristocrat, Emily Kent (Carol Beed) and then by the introduction of controversial new gun cartridges among the troops.

Matters get complicated when Gordon saves Jwala (Amisha Patel), a young native girl from the funeral pyre of her late husband and falls in love with her.

Meanwhile the new cartridges require soldiers to bite through their greased casing, made of animal fat.

And so a rumour starts to spread that the British are ignoring the religious beliefs in favour of cheap weapons, as they pollute their Muslim and Hindu soldiers.

Gordon assures Mangal that the cartridges are free from pollution. So demonstrating his total trust in his friend, Mangal bites the cartridge.

To their shock and horror, they discover that it really is made of animal fat proving the rumour to be true.

Such an event sparks off a feeling of resentment across the Indian continent. Mutiny breaks out as Mangal's popularity increases amongst his fellow sepoys.

He eventually leads the Indian people to freedom and becomes India's first revolutionary freedom fighter. But in 1857, he was finally hanged by the British for revolting against their rule.

The Rising is based on real historical events, seen as a trigger for Indian independence. It has been filmed in India over 6 months with a mix of British and Indian cast.


Christmas Eve, London. While the snow-clad city gets ready to celebrate the festival of peace and joy, a series of bizarre incidents shatter the Christmas calm. A couple of luckless Indians find themselves hauled by the London police and made scapegoats as they get thrown into jail.

And so a series of sinister plots unfold as the film unearths the personalities of seven people.

Krish (Anil Kapoor) is a sharp lawyer who always wins the case. There is Rocker (Suniel Shetty) who is obsessed with love. Nothing gets in his way.

Pipi (Irfan Khan) is a thinker who always prefers to follow the right path.

Tubby (Arshad Warsi) is a playboy. Sim (Tanushree Dutta) is a temptress with a dubious past.

There is also Devaa (Emran Hashmi), a passionate musician and Mansoon (Sushma Reddy) is a charming down-on-her luck journalist rying to make a name for herself in the media world.

As the truth is slowly revealed, one thing remains clear and that is: It's best not to ask too many questions! A hard-hitting film, this thriller deals with gangsters and underworld operations.

Directed by debutante Vivek Agnihotri, Chocolate is produced by the Spice Life Entertainment team of Vibha-Ragini.

George A. Romero's Land of the Dead

Jai Sinha (Karan Sharma) falls in love with Sophie Besson (Annabelle Wallace) while both of them are studying in Stockholm. The pair finds itself clashing with their respective parents. She happens to be the daughter of a prominent white family.

While Jai's father Shekhar Sinha (Amitabh Bachchan) has a liberal view on marriage and approves the relationship with zero hesitation, his mom Sandhya (Revathy) is of the orthodox breed who isn't comfortable with the idea of having a foreign daughter-in-law.

In the conflict, Jai is pressurized to marry an Indian girl (Bhoomika Chawla), who when realizes the real story backs out. So will there be a compromise? Dil Bhi Jo Kahey has the answers.

The film underlines the cultural conflict that exists between societies, each trying to endorse their own culture.
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