Tera Mera Saath Rahen (2001) Poster

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bad screenplay, highly commercialized, but still worth a watch
Kaif Mahmood17 May 2002
mahesh manjrekar's movie about the relationship between a man and his disabled kid brother is worth watching for some wonderfully sentimental moments between the two. on the other hand, occupying equal time in the movie is a not-so-subtle comment on society's lack of morality and values. the directorial talent is clearly visible....but the script leaves much to be desired. the films pace falls too often and a certain triteness settles in. the director should be criticized for playing too much to the gallery... putting in unnecessary love songs and conflicts, thus, straying from the main theme of the movie. the music is hummable at best, but works in the key scenes.

ajay devgan does a very competent job as the older brother torn between the woman he loves and the brother he can't live without.devgan is certainly emerging to be one of the best actors in bollywood...taking into account his performances in zakhm and hum dil de chuke sanam. one just hopes that he doesnt get stereotyped. but the highlight of the film is dushyant wagh who attracts everyone's admiration for his portrayal of the afflicted child. the actor's playing devgan's neighbours never seem to have heard of subtlety. most of them, barring the one playing the aged man, are loud and crass. it is probably a true depiction of the middle class in metros but it certainly needs better treatment because sometimes those characters just end up being annoying.

on a scale of 1 to 10, i'd give this a high 6. recommended for some good acting, a well-picturised and well-composed title-song and most importantly, some touching moments.
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fine performances but screenplay could be better
Chrysanthepop14 April 2007
The movie shows off some fine performances and pleasant music but the screenplay could have been better. It revolves around a 'chawl' neighborhood at the center of which live two brothers. The relationships between the characters were portrayed nicely e.g. how Soman's father confides in Raj and shares his disappointment, how the neighborhood comes to one another's need etc. Ajay Devgan delivers a decent performance while Namrata Shirodkar shines in her role. She has done a great job of portraying her character's despair. She's always there for Raj and Rahul and she yearns for Raj's love but since he can't reciprocate her feelings, she gradually walks a path of self-destruction. Sonali Bendre is brilliant, nonetheless. Her character has suffered hardship in the past (this is mildly referred) and now she makes her decisions based on practical thinking. She too loves Raj but she won't accept Raj's very limited devotion. Shivaji Sattam does very well and Reema Laggo portrays her character's metamorphosis wonderfully (but she is a little annoying in the beginning). Anand Raaj Anand's music is pleasant but some of the songs could have been easily left out as it slows down the pace. The film tries to show that love and care is all what one needs (at least in the case of the two brothers) and hence, why admit the handicapped brother to an institution? The way the institution was presented, with all the patients wearing some kind of uniform, was ridiculous. But why not rehabilitate the handicapped brother and provide him enough love and care? There's no need to admit him in an institution but he can still receive training and achieve some level of independence. But no, none of that is mentioned. As with a majority of Bollywood movies, this also tends to be melodramatic to some extent. Though I'd still say you could watch it for some fine performances, good music and to feel good.
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A touching story.... but a very average treatment.....
Suman Shakya20 May 2016
Subject wise the film is commendable. It deals with the bond between two brothers, one of whom is physically and mentally handicapped. The bond comes into test when the love life of the bigger brother interferes. The film is able to connect its audiences with the central characters. Ajay Devgan plays the central role well and the acting of child artist, Dushyant Beg, as the handicapped boy is just touching and presents with an innocence and spontaneity. Few sequences of the film is even able to moisten your eyes. Indeed the story of the film is touching and is well performed by its central characters. Despite this, the film doesn't raise above the average due to a poor screenplay. The film is effective only when it comes to the story of the bonding. Rest of the film dwells into a love triangle which is boring with unnecessary songs. Besides, some characters are loathed with over acting and unnaturalness. Had the film been worked out more in its narration, the film could have definitely been better.

Rating: 2 stars out of 4
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One of Ajay's many great acting performances.
vaijayanthi28 December 2005
Warning: Spoilers
Tera Mera Saath Rahen is one of Ajay's many great acting performances. The film has the quality a play and could be staged in the theater. Along with the usual BW true love romance and some wonderful musical numbers, the primary focus is a more subtle introspective view into the hearts of the characters. Ajay plays the quiet, hard working, self-sacrificing introvert Raj Dixit, who is devoted to his disabled younger brother Rahul.

We aren't told why Ajay's character Raj has accepted a life lived only for his brother Rahul who suffers from Cerebral Palsy. We do see that they are both very happy in their sweet small life. Ajay's love for this young boy is both impressive and completely natural. Ajay often lovingly embraces the boy, and happily lifts him up in easy innocent play or to rescue him from danger.

I admit that at first I found the boy hard to enjoy and I give Mr. Devgan full credit for the way he reaches out for Rahul, drawing him into his arms with obvious genuine affection, calm, and tenderness. And the boy is an endearing bright spirit, who perhaps foreshadows the character Ajay will himself eventually play in Main Aisa Hi Hoon.

Ajay's character Raj is respected at the office, where he always does his work on time so he can catch the bus home and take care of Rahul. Raj is also loved and admired in his 'society' by the people who live there with him. This word 'society' is the subtitle- translation of whatever Hindi term must describe these apartment-complex-rooms built around a courtyard and provide what I would call a village within the city. Everyone knows everyone in the 'society' and their individual stories are well woven into the film.

As Ajay's neighbors, Mr. & Mrs. Gupta are extended family and help Raj take care of Rahul. But it is the friendship with Mr. Gupta, played by Shivaaji Satam, and Ajay that particularly interests me. Shivaaji Satam is a fine actor, and while Ajay represents the difficulties of a young man, Mr. Gupta is facing the boredom of middle age, a fragmenting family, and his own fears regarding loneliness and old age. His conversations with Ajay become more interesting each time I watch them. There is also an old man in their community who completes the 'stages of life' trio. Abandoned by his only son, the old man finds himself trapped in the endless pain of lonely isolation, even within this 'society' village, and sadly the young adolescents often ridicule him.

Sonali Bendre plays the gorgeous love-interest girl, Madhuri. She and Ajay fall sweetly instantly in love at-first-sight. Ajay's character here is so pure, so innocent, and so virginal that he is embarrassed and totally confused by his own feelings, and his up-till- now suppressed passions. I love Sonali. I think she is truly one of the loveliest women of India and here she is that incredibly beautiful girl with a pure heart any man would want to marry.

Perhaps the best acting performance in the film comes when Ajay's character tries in vain to separate himself from his disabled brother. To please his new love, Ajay has forcibly and rather violently placed little Rahul in an institution with similar children. In the unbearable shadows of darkness, Ajay lies in his bed suffering the agonies of loneliness and separation from his brother. Their love for each other is an overwhelming and powerful mystery.

Tera Mera Saath Rahen was not the first film that the critics acknowledged Ajay Devgan as very much more than just action-man. He gives a truly fine, heart-wrenching, and very memorable performance here. His anguished, desperate run, barefoot through the city streets always makes me cry. Ajay excels at portraying a perfectly marvelous drunk – not only in this film, but also in Hum Dil De Chuke Sanam (1999) and as action-man Shiva/Ajay in Haqeeqat (1995). He would have been the perfect Devdas.

There are also some really good songs, three of which include the pleasure of watching the superb dancing skills of the gorgeous Sonali Bendre. Even though I'm sure she must be happily married these days - oh my, I miss her! However I do need to warn you of the 'Jumbo Jet' song, a sort of kid's Disney fantasy number that takes a little getting used to. Just put yourself into happy 8-year-old mode and enjoy the silly flying fun.

On quite a more serious note, I must say that Ajay is in melt-down sexy, handsome, awesome form in this film. For me, he is just about perfect here – and there is one all too brief scene, where he is walking around in the amber night-lights, dressed a rather tight white T-shirt that I am still in recovery over. Who needs Brando when you can look at Mr. Devgan! In the early part of the film there is another nano-moment when he is in one of those old 1940s style white undershirts … Wah! Ajay excels at playing the shy, geek introvert, who is simultaneously steaming with testosterone underneath - underneath that white T-shirt!

I highly recommend Tera Mera Saath Rahen to you without any reservations. It is an intelligent well-made film with a deeper meaning, as well as happily entertaining and stands up after repeated viewing. It is not teen-romance and has no yuppie gimmicks. This film is about the ineluctable, inexorable, invisible bonds whose power and mystery hold us deeply and profoundly in sweet love.
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