Who would have thought, that love, singing and terrorism can credibly be combined? But the characters of Manisha Koirala and Shah Rukh Khan are so convincingly and urgently represented, that one can comprehend his deep, unconditional love the same way one can comprehend her fear of him getting closer to her. Because after all the atrocities she has experienced and her role in the suicide command and terrorism, she still in her quiet, reserved ways clings to life, as she develops relationships with other people again and again, for the reason of friendliness and humanity and not for her inhuman cause of terrorism. In the same extent he wants to save her, she develops a fear of this rescue. No matter how she rejects him, his love grows and he does not want to give up, even if it could cost his own life.
This story is so fascinatingly told, that one has hardly time to breathe. In addition to that the film language is so enormous and the use of light in some scenes is so space and timeless beautiful, that it is hard to find a comparison to DIL SE. One of those scenes is set at a campfire somewhere in a desert. In the unique Mani Ratnam style there is bright light in the background, intimate whisperings between Meghna and Amar about the three dearest things in the world, close up shots on their faces. The closer Meghna and Amar are getting, the fewer light beams radiates between the two heads and less the observer can see of this intimate moment, the farther away they are from each other, the more one can see of what they are doing, but less is happening. Light means life. Although in Indian Cinema rarely real kisses can be watched, this almost kiss belongs to the Top Ten of best film kisses ever. One could almost feel and taste the tension in this scene.
Whoever particularly watches Bollywood Cinema because of the music and the dance scenes will also enjoy this movie. The scene on top of the train became film history and meanwhile it is already quoted in advertisement. In this regard the film is also unusual, the music smoothly adjusts itself into the story and continues to carry it on a bit. As the characters wonder what could have happened if they would have met in another life under different circumstances. The music is made so beautifully.
I think that Western or European spectators could find an easy introduction to Indian Cinema with DIL SE , the story telling reminds of the European Cinema Style in a way. It gives enough room to read between the lines and in the faces of the brilliant actors. Words are not needed to explain their actions it is simply there to see it and experience it.
Dil SE is absolutely no film which one can easily forget. As far as I'm concern the question that still employs me after having seen it a few times is whether there could have been another end for the two characters or whether the end shown in this film remains the only possible ending to their story. Well, the end of this movie is really the only thing which does not please me. I don't think there has to be a happy ending after all but still the end shown is missing the strength and love of the rest of the story, it just ends it, period.
This story is so fascinatingly told, that one has hardly time to breathe. In addition to that the film language is so enormous and the use of light in some scenes is so space and timeless beautiful, that it is hard to find a comparison to DIL SE. One of those scenes is set at a campfire somewhere in a desert. In the unique Mani Ratnam style there is bright light in the background, intimate whisperings between Meghna and Amar about the three dearest things in the world, close up shots on their faces. The closer Meghna and Amar are getting, the fewer light beams radiates between the two heads and less the observer can see of this intimate moment, the farther away they are from each other, the more one can see of what they are doing, but less is happening. Light means life. Although in Indian Cinema rarely real kisses can be watched, this almost kiss belongs to the Top Ten of best film kisses ever. One could almost feel and taste the tension in this scene.
Whoever particularly watches Bollywood Cinema because of the music and the dance scenes will also enjoy this movie. The scene on top of the train became film history and meanwhile it is already quoted in advertisement. In this regard the film is also unusual, the music smoothly adjusts itself into the story and continues to carry it on a bit. As the characters wonder what could have happened if they would have met in another life under different circumstances. The music is made so beautifully.
I think that Western or European spectators could find an easy introduction to Indian Cinema with DIL SE , the story telling reminds of the European Cinema Style in a way. It gives enough room to read between the lines and in the faces of the brilliant actors. Words are not needed to explain their actions it is simply there to see it and experience it.
Dil SE is absolutely no film which one can easily forget. As far as I'm concern the question that still employs me after having seen it a few times is whether there could have been another end for the two characters or whether the end shown in this film remains the only possible ending to their story. Well, the end of this movie is really the only thing which does not please me. I don't think there has to be a happy ending after all but still the end shown is missing the strength and love of the rest of the story, it just ends it, period.