This is a charming romantic comedy about six young adults, presumably fresh out of college or around that age. There are three current male friends, Sanjay (Aslam Khan), Vinod (Aman Sondhi) and Deepak (Vikas Kalantri), and three females who were friends at one time but who have lost touch with each other, Neela (Mallika Kapur), Shree (Jonita Doda) and Sherry (Divya Palat).
Sanjay runs a successful business, even if they have products that are a bit odd and questionable, such a match that self-ignites into a small bonfire when exposed to air. He's maybe the equivalent of a young, Indian Ron Popeil. Vinod is an up and coming cricket player. He's successful enough to be on his way to a rewarding career, but not yet successful enough to pay his rent on time, so he's been hiding from his landlord and using his window as an entrance/exit point from his apartment. Deepak is a fine but unusual singer who likes to combine traditional Indian music with modern pop. His neighbors aren't quite so fond of his constant practicing at home, especially since he also plays drums in his apartment.
As for the women, only one is shown having a career--Sherry, who is a successful field reporter for Toofani, a television program or station. Neela is the daughter of Vinod's landlord, and Shree lives in an apartment across the hall from Deepak. All three are beautiful, of course.
The gist of the film is that the three men inadvertently end up being mistaken for each other by the three women. Sanjay tries to talk to Vinod's landlord, and Neela thinks he's the cricket player. Deepak goes to talk to Sanjay and sits in his executive chair just as Sherry is coming in to interview the company head about his controversial matches. And Shree knocks on Deepak's door to encourage his singing. She's never met Deepak before, and Vinod answers instead. Maybe needless to say, the three couples, with the mistaken identity males, all fall head over heels in love with each other on first sight. This is made more complicated by the fact that Neela has a cricket player fetish, Sherry has a successful businessman fetish, and Shree has a singer fetish. So our male heroes cannot reveal the truth without risking their desired women. This leads to a lot of hilarious scenes in which they try to pass as each other, even though they have no talent or knowledge of the other's skills.
Even furthering complicating things, there is a comic relief thug/terrorist villain, Tunda Bhai (Rajpal Yadav), who is obsessed with all three women (presumably he met them in school or something--it's never stated directly). Along with his equally buffoonish sidekick, he tries various schemes to win their love and vanquish his competition, including hiring a hilarious Pakistani terrorist, who arrives with his "lucky Fiat" in tow on top of a bus.
The plot may sound overly complex--this is one of the longest plot descriptions I've written yet--but as long as you pay attention to the film, it's remarkably easy to follow. For regular viewers of Bollywood films, it might be even easier, as according to "Indiatimes Movies", which basically trashed this film in their review, the plot is a bit clichéd at this point. I haven't seen nearly enough Bollywood films yet to say whether Dil Bechara Pyaar Ka Maara would be clichéd, but whether the plot bears some similarity to other films shouldn't affect your rating unduly. Dil Bechara Pyaar Ka Maara, like any other film, isn't better or worse as an artwork just because it's original or lacks originality. Aspects of similarity such as plot, if common enough, merely turn into genres eventually anyway.
For example, I'm a huge horror film fan. There is no shortage of films that follow what is known as the "Ten Little Indians" plot. That is, you take a sizable group of people, isolate them in some way (in a haunted house, on an island, in the woods, etc.) and gradually have a villain kill them off, one by one, until only one or two protagonists are left who do battle with the villain and (usually) defeat him, at least until the sequel arrives. A film that follows a Ten Little Indians plot line isn't worse for being clichéd in that way. It can still be a great film, as long as it's artistically rewarding/entertaining in some way, including performances, cinematography, clever, subtle twists on the expectations created by the Ten Little Indians plot line, and so on.
Dil Bechara Pyaar Ka Maara is a very good film artistically. It's frequently laugh-out-loud funny, the cast is talented and attractive, there are entertaining side characters like the Pakistani terrorist who traveled all that way to just help a fellow criminal in his love problems, the music is good (I especially loved the classical/modern blend of Deepak's songs), the choreography is consistently inventive/creative, and it is filled with interesting cinematography--even employing such unusual techniques as the superfast zoom in/zoom out style that was so popular back in the late 1960s/early 1970s in psychedelic music videos and films influenced by the same. It also has a pretty important theme about appreciating people for themselves, for whatever they happen to be, rather than seeing them as a particular career holder, or putting stringent restrictions on what you'll allow them to be.
It may not be a masterpiece, and maybe I'd enjoy it even more if it were a bit less predictable overall, but really, that goes for the great majority of Bollywood films. Presumably, you wouldn't be considering watching a film like Dil Bechara Pyaar Ka Maara if you didn't like the typical Bollywood style, and as long as you enjoy that, you should find this film entertaining enough to at least give it one viewing.
Sanjay runs a successful business, even if they have products that are a bit odd and questionable, such a match that self-ignites into a small bonfire when exposed to air. He's maybe the equivalent of a young, Indian Ron Popeil. Vinod is an up and coming cricket player. He's successful enough to be on his way to a rewarding career, but not yet successful enough to pay his rent on time, so he's been hiding from his landlord and using his window as an entrance/exit point from his apartment. Deepak is a fine but unusual singer who likes to combine traditional Indian music with modern pop. His neighbors aren't quite so fond of his constant practicing at home, especially since he also plays drums in his apartment.
As for the women, only one is shown having a career--Sherry, who is a successful field reporter for Toofani, a television program or station. Neela is the daughter of Vinod's landlord, and Shree lives in an apartment across the hall from Deepak. All three are beautiful, of course.
The gist of the film is that the three men inadvertently end up being mistaken for each other by the three women. Sanjay tries to talk to Vinod's landlord, and Neela thinks he's the cricket player. Deepak goes to talk to Sanjay and sits in his executive chair just as Sherry is coming in to interview the company head about his controversial matches. And Shree knocks on Deepak's door to encourage his singing. She's never met Deepak before, and Vinod answers instead. Maybe needless to say, the three couples, with the mistaken identity males, all fall head over heels in love with each other on first sight. This is made more complicated by the fact that Neela has a cricket player fetish, Sherry has a successful businessman fetish, and Shree has a singer fetish. So our male heroes cannot reveal the truth without risking their desired women. This leads to a lot of hilarious scenes in which they try to pass as each other, even though they have no talent or knowledge of the other's skills.
Even furthering complicating things, there is a comic relief thug/terrorist villain, Tunda Bhai (Rajpal Yadav), who is obsessed with all three women (presumably he met them in school or something--it's never stated directly). Along with his equally buffoonish sidekick, he tries various schemes to win their love and vanquish his competition, including hiring a hilarious Pakistani terrorist, who arrives with his "lucky Fiat" in tow on top of a bus.
The plot may sound overly complex--this is one of the longest plot descriptions I've written yet--but as long as you pay attention to the film, it's remarkably easy to follow. For regular viewers of Bollywood films, it might be even easier, as according to "Indiatimes Movies", which basically trashed this film in their review, the plot is a bit clichéd at this point. I haven't seen nearly enough Bollywood films yet to say whether Dil Bechara Pyaar Ka Maara would be clichéd, but whether the plot bears some similarity to other films shouldn't affect your rating unduly. Dil Bechara Pyaar Ka Maara, like any other film, isn't better or worse as an artwork just because it's original or lacks originality. Aspects of similarity such as plot, if common enough, merely turn into genres eventually anyway.
For example, I'm a huge horror film fan. There is no shortage of films that follow what is known as the "Ten Little Indians" plot. That is, you take a sizable group of people, isolate them in some way (in a haunted house, on an island, in the woods, etc.) and gradually have a villain kill them off, one by one, until only one or two protagonists are left who do battle with the villain and (usually) defeat him, at least until the sequel arrives. A film that follows a Ten Little Indians plot line isn't worse for being clichéd in that way. It can still be a great film, as long as it's artistically rewarding/entertaining in some way, including performances, cinematography, clever, subtle twists on the expectations created by the Ten Little Indians plot line, and so on.
Dil Bechara Pyaar Ka Maara is a very good film artistically. It's frequently laugh-out-loud funny, the cast is talented and attractive, there are entertaining side characters like the Pakistani terrorist who traveled all that way to just help a fellow criminal in his love problems, the music is good (I especially loved the classical/modern blend of Deepak's songs), the choreography is consistently inventive/creative, and it is filled with interesting cinematography--even employing such unusual techniques as the superfast zoom in/zoom out style that was so popular back in the late 1960s/early 1970s in psychedelic music videos and films influenced by the same. It also has a pretty important theme about appreciating people for themselves, for whatever they happen to be, rather than seeing them as a particular career holder, or putting stringent restrictions on what you'll allow them to be.
It may not be a masterpiece, and maybe I'd enjoy it even more if it were a bit less predictable overall, but really, that goes for the great majority of Bollywood films. Presumably, you wouldn't be considering watching a film like Dil Bechara Pyaar Ka Maara if you didn't like the typical Bollywood style, and as long as you enjoy that, you should find this film entertaining enough to at least give it one viewing.
