3.8/10
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Dhaai Akshar Prem Ke (2000)

Karan Khanna is an orphan and a captain in the Rajputana Armed Forces. He's madly in love with beautiful model Nisha, with whom he plans to tie the knot during his next leave. On the way to... See full summary »

Director:

Raj Kanwar

Writers:

Jainendra Jain (dialogue), Raj Kanwar | 1 more credit »
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Cast

Cast overview, first billed only:
Abhishek Bachchan ... Karan Khanna
Aishwarya Rai Bachchan ... Sahiba Gareval (as Aishwarya Rai)
Amrish Puri ... Yogvendra 'Yogi' Grewal
Anupam Kher ... Ronak Grewal
Shakti Kapoor ... Pritam Grewal
Sushma Seth ... Yogi's mom - Biji
Harish Patel ... Sharan Grewal
Dalip Tahil ... Rai Bahadur Tejeshwar Singhal (as Dilip Tahil)
Nina Kulkarni ... Amrit Y. Grewal (as Neena Kulkarni)
Tanvi Azmi ... Simran Grewal
Himani Shivpuri ... Sweety S. Grewal
Supriya Karnik ... Monica P. Grewal
Inder Sudan ... Vicky Singhal
Rishikesh Pandey ... Sameer 'Sam'
Sanjay Batra Sanjay Batra ... Pranay
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Storyline

Karan Khanna is an orphan and a captain in the Rajputana Armed Forces. He's madly in love with beautiful model Nisha, with whom he plans to tie the knot during his next leave. On the way to Nisha and their life together he bumps into Sahiba Grewal (Aishwarya Rai) who is an eye-witness to a murder and a girl on the run. Paranoid and panic-stricken, she finds an unexpected savior in Karan who rescues her from a group of criminals and stops her from taking her life. Slowly, Sahiba confides in Karan about her painful past and not-so-pretty future. Sahiba is the daughter of the stern and stony-faced patriach, industrialist Yagvendra Grewal who wants to see her settle down with the very suitable son of his friend, Rai Bahadur. Unwilling to get tied down too soon with a stranger, Sahiba lies to her family telling them she got married while studying in the city and is now terrified of returning to Palanpur without a husband. Karan chivalrously offers to make the trip home with her and tell ... Written by gavin@sunny_deol2009@yahoo.com

Plot Summary | Add Synopsis

Taglines:

Love is the only inspiration...

Genres:

Drama | Romance

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Details

Country:

India

Language:

Hindi | English

Release Date:

29 September 2000 (India) See more »

Also Known As:

Kroki w chmurach See more »

Company Credits

Production Co:

Inderjit Films Combine See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The title comes from an Indian proverb which roughly translates to "Extensive studying does not a wise man make. A man who knows a little about love is the wisest of all." See more »

Connections

Referenced in Bollywood im Alpenrausch (2000) See more »

Soundtracks

Koi Taza Hawa
Lyrics by Sameer
Music by Jatin Pandit and Lalit Pandit
Performed by Anuradha Paudwal and Babul Supriyo
See more »

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User Reviews

Aishwarya Rai shines in otherwise far-fetched Bollywood romance
19 November 2002 | by BrianDanaCampSee all my reviews

DHAAI AKSHAR PREM KE is a hopelessly contrived and overly melodramatic musical romance from Bollywood, yet it deserves attention because of its central performance by the reigning queen of Bollywood, Aishwarya Rai. The beautiful Rai is seen to much better effect in such exemplary romantic spectaculars as HUM DIL DE CHUKE SANAM, TAAL, and DEVDAS, but she is quite compelling here playing a girl hopelessly in love with a man pining for someone else and ultimately forced, as she is in so many films, to marry a man she doesn't love.

A perennial staple of the melodramatic form is the misunderstanding that escalates to a point where it becomes too late to tell the truth and straighten things out. Here a young college girl from a traditional family, Sahiba (Rai), is rescued, first from attackers and then from a suicide attempt, by Karan (Abhishek Bachchan), a young army captain on leave. He takes her home to her family's rural estate and is assumed to be her new husband and welcomed enthusiastically by all the relatives but the girl's angry father, Yogi (Amrish Puri), who had opposed her going away. With each heart-warming ritual and ceremony, Karan becomes more and more a part of the family even though he is in love with a girl back home and eager to get back to her. Gradually, Sahiba grows to love him and eventually tells him so and begs him not to go.

To make a long story (167 minutes) short, Karan runs out on Sahiba only to learn that things at home are not what he thought they were. He returns to Sahiba's home to reclaim her, only to find her about to be married to the son of one of Yogi's business partners. Things take a particularly egregious melodramatic turn when two characters resort to some old-fashioned villainy (all that's missing are twirling mustaches), including tying up two of the protagonists to posts in a factory which is then set on fire. Having proved himself a man of action battling terrorists in the film's opening sequence, Karan gets an opportunity to be a two-fisted, pistol-shooting hero again in the film's implausible finale.

With the exception of a magnificent ceremonial number performed by Rai and a number of ornately dressed back-up dancers at the film's midway point, the songs are rather simply staged and consist largely of fantasy duets performed by Rai and Bachchan against exotic Indian backdrops and such far-flung locations as Scotland and Switzerland. The abrupt changes in setting (and costume) are rather jarring and tend to break the mood of the film and slow down the narrative.

The film remains worth seeing for Rai's moving portrayal of an anguished village girl who is both eager to break out of her traditional family structure yet is clearly nourished and empowered by the strong support she gets from her mother, grandmother, aunts and uncles. Rai's expressive eyes and mouth convey in heart-breaking fashion the gradual buildup of love for the man who rescued her and her anxiety at the prospect of him leaving. Even amidst the outlandish turn of events on display here, Rai proves what a superb film actress she is, expressing a full spectrum of emotions, from joy and contentment to fear and suicidal despair, never once striking a false note.


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