I suspect at least parts of ‘Dil Bechara’ play out better than ‘The Fault In Our Stars’, because this corny-sentimental register is something our cinema owns like a pro. (AR Rahman’s delicious soundtrack is icing on the gooey cake.)
Spoilers ahead…
When an actor leaves us in his prime, the films that release after his passing aren’t just movies. They become monuments to a memory. This happened with Giant (James Dean was killed in an automobile accident just before the classic was released). This happened with The Dark Knight (Heath Ledger died from a toxic combination of prescription drugs six months before the genre-defining blockbuster hit theatres). Closer home, there’s Divya Bharti, who died in April 1993, all of 19. Talat Jani’s Rang came out three months later, and when you watched one of Nadeem-Sharavan’s hit numbers — say, Tujhe na dekhoon to chain — you saw this cherubic, moon-faced girl dancing without a care in the world, and it was impossible, at least back then, to focus on her character. You saw the person. You saw promise. You saw a future. You saw the hand of fate.
Read the rest of this article here: https://www.filmcompanion.in/reviews/bollywood-review/dil-bechara-review-disney-plus-hotstar-sushant-singh-rajput-sanjana-sanghi-a-watchable-enough-romance-that-offers-a-small-sense-of-closure-to-a-big-tragedy-baradwaj-rangan/
Copyright ©2020 Film Companion.
Baradwaj Rangan 
Sri Prabhuram
July 25, 2020
I figured that Dil Bechara would play better in Bollywood than in Hollywood because as you said, Bollywood loves these kind of stories to death.
As for Rahman’s “icing on the gooey cake”, it pleasantly reminded me of his soundtracks in Jaane Tu Ya Jaane Na & especially Lekar Hum Deewana Dil (probably because of Rahman’s collaboration with Amitabh Bhattacharya in the latter, a criminally underrated one, in my view.)
I was wondering why you didn’t review it like you did with 99 Songs, but after going back to that review, I felt that Dil Bechara’s songs would probably fit very well into some your favorite Rahman zones (i.e. Nazar Laaye, Kabhi Kabhi Aditi, Thalli Pogathey, Sofia, etc.)
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brangan
July 25, 2020
Sri Prabhuram: Have you seen the Hollywood film? Now I’m wondering if I should, just to compare. I do get the gut-feel that it would be much duller, though 🙂
I didn’t get time to do an album review. But in general, I like Rahman (or any composer) when the effort doesn’t show. Of course, any song/album is created with a lot of effort. But in 99 SONGS, I felt there was a strain to be a “great album” of some sort. Here, I thought, some songs like ‘Taare ginn’ achieved that greatness “casually”, without that strain showing even a bit. In the sense that the “flow” of the song seems so easy and organic.
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madhusudhan194
July 25, 2020
Kudos to you BR for having the courage to give an honest and objective review under the emotionally charged situation. I hope you don’t have to face the brickbats for your opinion because twitter seems to be head over heels in love with it.
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V
July 25, 2020
Sushant was so effortlessly exuberant in Kai Po Che – in Dil Bechchara, the glint of sadness behind all the sass was a little obvious. Was it Sushant, the person or Manny, the character?
This uncanny film, the boy and his smile are going to haunt me for a long time!
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abishekspeare
July 25, 2020
I saw TFOIS just last month, it was much more detailed and coherent. The way Dil bechara is edited shows the movie faced a lot of issues(or is it just how they wanted it to be?). The whole paris arc especially is underwhelming here. Having a song after that scene was so weird. I was able to connect the dots since i’ve seen TFIOS, but as a standalone movie Dil bechara feels incomplete. And BR, you let us down by not doing a music review 😦
Really enjoyed SSR’s performance though, right to the minute awkward expressions. In a way this is similar to his performance in dhoni – he walks a tightrope between imitating the original(some scenes are exactly the same, right upto the camera movements) and making it his own. Sigh. Also, was so nice to see Bob Biswas Chatterjee after Jagga Jasoos. He should get more roles. Such a comforting screen presence.
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Madan
July 25, 2020
I am surely going to watch this, either today or tomorrow.
Re the movie version of Fault In Our Stars, while there were some unexplained things in the writing (like the girl’s parents’ suddenly agreeing to support the boy’s idea to take her to Amsterdam to meet her favourite writer), the lead pair, Ansel Elgort (also seen in Baby Driver) and Shailene Woodley (Big Little Lies) were brilliant. Ansel actually fits the young millennial/zoomer demographic perfectly because he was born in 94 and when he talks about Marvel/superhero movie love and wanting to make a name for himself, it’s credible. I don’t know what the characters’ age in DB are and how credible SSR would be as a college student if he’s playing one.
I thought Fault In Our Stars was sentimental in a nice way, in the way that Star is Born was, in the way the best Meg Ryan comedies were (or Mrs Doubtfire for that matter), and in the way Hollywood has largely forgotten in the ultra post modern/self-referential tone of the noughties. Strangely, though, it was youngsters who liked Fault In Our Stars more while older movie goers seemed to dislike this very sentimentality and used their dislike as a ruse to, yet again, trash the sensibilities of zoomers.
Oh, Fault…also has the delightful Willem Dafoe in a brilliant cameo that delivers a harsh dose of reality. I think with all its, um, faults, Fault…is a modern classic and ought to go down as one because it has a bunch of well drawn characters (except, oddly, the rather bland parents, imagine Laura Dern being bland in ANY role), people you identify with either positively or negatively and will remember after the film is over. I guess, like DWP and Disclosure, it managed to rise above the book.
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Aman Basha
July 25, 2020
For someone who made way too much fun of girls for crying over TFIOS and then becoming a wrecking sobbing mess himself, Dil Bechara was just the perfect adaptation. I was very happy to see the high IMDB rating and enraged that Shubra Gupta seemed back to her old ways when she rated the film 2.5 stars. Your review is not entirely positive yet when you made the point that you didn’t like the book, I assume that watching too many movies of this type in the past, like Love Story, Geethanjali and so on, you might not have the same reception towards it. Plus, I do think it’s hard for older individuals to relate with YA content 🙂
Dil Bechara did an excellent job of transposing TFIOS to an Indian context, making the author character a musician and have an incomplete song, that wondefully awwy line about sleep and love is not in the book. The fact that their trip is explained to Manny’s rich family, that drinks scene with Kizzie’s father, that little touch of Kizzie attending funerals and with Manny’s entrance, instead watching films. Her mother is the typical Indian mother who is worried about her virginity and the sex is, adhering to custom, off screen. Even the author scenes, one where he acts all eccentric and rude and then regretful are perfectly mixed into one short yet effective scene which Saif does with aplomb. It even does away with that Anne Frank scene which worked in the book but was odd in the film, it is better than the Hollywood version.
Though you refer to Rajesh Khanna in Anand, it reminded me more of SRK in Kal Ho Na Ho. Where even Naina and Kizie undergo the same transformation, and in particular that line which Aman tells Naina about carrying a burden on her shoulders works literally for Kizzie.
Also wonder why you didn’t bring up the strangely poignant meta point of Manny leaving Kizie his film after his passing and the same happening unfortunately in real life, given you are the first to note off screen parallels.
I wonder how much of my and the general audience’s reception is due to the fact that romance, which was called a dead genre by so many for so long in the past years and had only stories of self obsessed man children and their journey made a nice comeback with Rahman’s music being the icing on the cake, original music (wow!).
But for now, it does offer closure and a fitting end to a star who deserved more.
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Aman Basha
July 25, 2020
Just to add an extra point: why did you mention the director being named in the MeToo movement? He was cleared of all charges given by an anonymous source quoting four anonymous actresses. Does every Sanjay Dutt review refer to the TADA case? Or every Kangana review refer to Hrithik or did your Super 30 review refer to MeToo? Just very odd, and if possible, wish you took the sentence out from an otherwise excellent review, that just killed the flow.
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brangan
July 25, 2020
Aman Basha: Plus, I do think it’s hard for older individuals to relate with YA content 🙂
Actually, I don’t think so at all. I am the same person who adored and devoured the Harry Potter books. I loved THE PERKS OF BEING A WALLFLOWER. I still read Phantom comics.
I think it’s the reverse of what you say. I have passed through your age, and so I will be able to relate better to that stage that you will be to mine. It has more to do with how much the story grips you, etc.
I am not — of course — saying that I read YA fiction all the time, or I am a teen at heart. I am just disagreeing with your blanket statement that “it’s hard for older individuals to relate with YA content”.
Again, THE PERKS OF BEING A WALLFLOWER is a fantastic example of how a truly well-made film can transcend age.
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Jai
July 25, 2020
BR – I mostly agree with you wrt relatability to YA fiction/ films. I re-read the entire Harry Potter series recently, and it was as gripping as my first read, between 20 to 13 years ago. (Yikes, time flies!). Forget YA fiction, I was almost as engrossed as my young kids in The InBESTigators – an Australian Children’s comedy/detective drama series. 😀 I seriously wouldn’t mind watching it again.
But it also, I think, depends on the quality of the film/book in question, whether it transcends age. I loved DTPH as a teen, for instance, but on repeat viewing, I could barely tolerate it. It felt so superficial, so cosmetic, and this despite me being such a huge Madhuri fan. Likewise, though I was in my late 20s when I saw Jaane Tu ya Jaane na, I disliked it. Again, it all felt very forced, the coolth factor seeming quite wannabe (to me). I couldn’t help feeling I might have liked that film more, if I had been a decade younger at that point.
Hope to catch up with Dil Bechara this weekend. We’ve seen The fault in our stars before, and felt it was so-so. Hope this is better.
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Satya
July 25, 2020
Watching the trailer, I felt it was a mix of Geethanjali and KHNH. But, now, it feels quite different in tone and treatment.
Having said that, I am yet to conclude if the climax worked because of Sushant’s demise or the way ot was actually written.
Either way, I will miss this guy for his great efforts to play ‘nice’ men onscreen.
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Aman Basha
July 25, 2020
@brangan: OK, I just made a general assumption given that the Hollywood version too didn’t have great reviews in some places making me wonder if the age gap between a person who has already read Love Story or seen Geethanjali or so on, might not react in the same way here, given they have seen it in some ways before, (plus the church scene is very similar to Geethanjali’s too), they’d probably not react as positively as I or any of my peers would. That’s what I meant by my statement.
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Brinda
July 25, 2020
Lovely review as usual , cannot bring myself to watch it just yet !! Could you please remove that line about the #metoo movement? It doesn’t seem to be relevant to this at all?
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Ariya
July 25, 2020
Like @Aman here, I am taken aback by a curious line about the director’s personal life,perhaps a bit out of context ?An insert by the ‘editorial ‘ team ?
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Madan
July 25, 2020
Done watching. It takes a while getting off the ground because the English film is kind of clumsily incorporated into this one and they might have been better off not trying to force fit the adaptation. The Willem Dafoe conceit works in the original because he’s a writer and his last book had an incomplete ending and the girl wants badly to know how he had intended it to end. The meaning invested by her in that book is a very important part of the film as is the bond between the blind chap and the romantic pair. Neither are etched out as well in this film. In general, as abhishekpeare said, the English film is far more coherent.
But the chemistry between the lead pair is equally as strong as in the original. And the three songs that ARE used in toto work beautifully in the film, which fortunately are also, imo, the three best tracks of the film – Taare Ginn, Main Tumhara and Khulke Jeene Ka.
I am afraid it doesn’t quite amount to a triumphant swansong for SSR, a posthumous magnum opus. But it will do.
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Sri Prabhuram
July 25, 2020
Baradwaj Rangan: Nah. I was never interested in watching that Hollywood counterpart or reading the book either. Although, I will say that TFIOS came out during my high school days and many of my schoolmates were going crazy over the film, so probably that’s why I was never interested in that.
I was just saying that based on this movie being a tear-jearker and Rahman’s soundtrack, I might prefer watching DB over TFIOS, but not by much. This is because I’m very biased towards Indian rom-coms than Hollywood in general and their soundtracks play a part quite well in enchancing the overall movie experience. People like Vishal-Shekhar & Pritam have done it quite well.
As for the music, Rahman’s music does feel very causal and breezy here, unlike 99 Songs where it feel ambitious, yet self-indulgent IMO.
BTW, have you checked out Thumbi Thullal from Vikram’s new film Cobra?
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Cathy Cooper
July 25, 2020
I echo the comments above, how is an insert on the director and #MeToo relevant to the movie’s review?
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Anu Warrier
July 25, 2020
I think I will wait to watch this film. I’m a sucker for well-done romances, but this one is going to cut too close to the bone. I rewatched Kai Po Che to remember what three fresh-faced (since I had never watched the TV serials in which SSR or Amit Sadh acted) newcomers brought into our cinema. And I still found myself getting emotional.
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(Ex?) Voldemort
July 25, 2020
I found both the FIOS book and the movie to be middling. There was a sinking feeling throughout this film, and when Manny dies, I burst into tears not for Manny but for Sushant. Had this actor received a third of the love he gets now, maybe, just maybe, things would have ended up differently. The thought of what could have been breaks the heart. 😦
And the falling in love is similar to falling asleep line is from the book, but it sounds so much more beautiful in Hindi.
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(Ex?) Voldemort
July 25, 2020
Shubhra Gupta has very beautifully written this at the end of her Dil Bechara review –
“His passing is so recent, with so many troubling consequences, that you cannot divest that feeling of a life lost too soon, from watching him on screen, as his Manny heads towards his destiny. But will we ever have closure on Sushant Singh Rajput’s tragic end?
Dil Bechara is not just a film. It is equal parts dirge, and catharsis. You see Sushant, and the film recedes, and you want to reach out and freeze the frame. He was there, and he isn’t here. I brush back a tear.”
Especially the last 2 lines. So poignantly beautiful.
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kaizokukeshav
July 25, 2020
Fine movie but definitely not a solid movie that was expected. The best parts of the movie that I remember would be 1. Sushant donning the so-called-Rajinikanth role 2. the two minutes of Saif Ali Khan and chemistry in the family. The biggest mistake in the story was that, the movie prepared us with the death of heroine but in the end that was not quite the result. Because of that, the entire emotion in the story went missing.
There was definitely another movie like this .. a movie called ‘Oye’ in Telugu starring Siddharth and Shamili (the Anjali baby) which atleast stuck to the premise of heroine dying.
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Devarsi Ghosh
July 26, 2020
The MeToo info is dumped awkwardly into the review within parentheses. It has no bearing on a single other sentence in the review. This seemed quite odd for a BR review. I have never seen such a thing. Usually if there is something in parentheses, then it exists to inform the reader about some context that might bring additional meaning to the preceding sentence, but that which cannot exist as a sentence on its own. This is the first time I have seen something like this in a BR review.
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Madan
July 26, 2020
Devarsi/Cathy/Aman: Sounds like one of the wokestas insisted on including that parenthesis in the review, perhaps? Because either it’s not there because it’s over or it’s there but with the additional info that the director was in fact cleared of the charges.
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N Madhusudhan
July 26, 2020
Watched this yesterday night and couldn’t stop crying for at least the last 20 minutes. SSR’s OTT acting was a bit odd initially but when he softens in the latter part of the film, that’s when you realize how talented he was how powerful he could be in the quieter moments. I loved Sanjana Sanghi’s performance as Kizzie. She has the innocence you seldom see in bollywood heroines these days. It’s sad that her impressive debut seems to be getting lost under the cloud of SSR’s suicide (and his performance).
I have neither seen the original film nor read the book but this was like a Bollywood upgrade of Mani Ratnam’s Geetanjali with the lead roles slightly reversed. The melodrama was staged in a fairly dignified manner and did not seem manipulative at any stage.
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Devarsi Ghosh
July 26, 2020
Madan: Here’s the thing. Even if someone wants to strive to be seen as “woke”, which is now a pejorative term for socially progressive, out of whatever workplace compulsion or personal interest, then just dumping a sentence without contextualising it in an essay/review makes no sense.
Then this wokeness is not just performative, but it is performative of the worst sort. There isn’t even the semblance of an attempt to reconcile this info-dump with the rest of the review.
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Madan
July 26, 2020
“Then this wokeness is not just performative, but it is performative of the worst sort.” – There is a lot of performative wokeness of the worst sort going on Stateside so maybe it’s par for the course. It did seem to me like somebody angrily declared that the director being once implicated in MeToo should be acknowledged and it was accommodated by means of this bald bracket which, as you say, just sticks out bereft of context in the review.
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Aman Basha
July 26, 2020
@Madan: Which wokestas are we talking about? Check the FC comments page, out of 4, 3 people have criticized this, it didn’t have a warm welcome in Instagram either, I’m not on Twitter but the reaction must have been similar. Conspicuously slipping in allegations proven false against a director is wrong. You won’t see these comments in their Mean Comments section.
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Madan
July 26, 2020
Aman: I think you’ve completely misunderstood me here (don’t know why that would be because my comment was quite clearly worded). Calm down. I meant the wokestas in the FC team. Something like the NYT interns Bari Weiss was complaining about. I didn’t mean any of the FC readers and I don’t know how you could have leaped to that conclusion because a reader has nothing to do with the content of the article as it is published. Yes of course, slipping in the allegation without also mentioning that the allegation was proved wrong, is wrong and I said as much above.
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Aman Basha
July 26, 2020
@Madan: I’m sorry, I have misunderstood you. What I thought was that the line was included to pander to the woke segment and given the reaction, has only caused people to accuse the review of an agenda. I didn’t know that the review could be subject to changes by people other than BR sir himself and these meddlings in the name of wokeness have only hurt the review.
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Madan
July 26, 2020
“. I didn’t know that the review could be subject to changes by people other than BR sir himself and these meddlings in the name of wokeness have only hurt the review.” – It is how I interpreted it because otherwise it is very uncharacteristic of him to just put that in a bracket and not explain anything further about it. That’s why I said it sounded like somebody in the team insisted on adding it before they put it up because wokeness and all. I am basing that on my experience of having articles mutilated by wildly misleading titles when I used to write for a cricket website. At that time, the consideration was purely commercial, to incite controversy and attract readers because the Ed thought my articles were too dense (big surprise!); now, wokeness is the new game in town.
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Anu Warrier
July 26, 2020
Speaking as an editor and a former sub-editor – sub-editors usually add titles and intros. They edit the articles for coherence, they fact check.
We don’t add information to an article without adding, ‘Editors: —-‘ , so that people know that it is an editorial comment. And any statement that has to be double-checked usually goes back to the author for confirmation. At least, that’s how I was taught; that’s been my practice and experience for my entire professional life.
So I’m willing to wager that that remark was BR’s. Not some ‘woke’ person on the editorial team.
I notice BR hasn’t commented Yea or Nay, and I won’t press for a rebuttal. Suffice that enough people have pointed out that the statement was totally unnecessary – which, incidentally, I agree with. It was not relevant to the article at all, not unless it was also mentioned that he was cleared of all charges. Actually, not even then.
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Aran
July 27, 2020
With all of the comments about the MeToo aside about the director, wonder why BR isn’t addressing this issue? Not that he has to, or needs to defend anything, but I’m still curious why he isn’t addressing it.
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Nappinai (@Nappinai2)
July 27, 2020
abishekspeare: “The whole paris arc especially is underwhelming here. Having a song after that scene was so weird.”
I thought they fit in well, no? Saif’s character is painted as this genius suffering artist who doesn’t value life and also, seems to voice the one question in the audience’s mind – “What would Kizzie/Manny do when the other passes away?” Saif also comes across as the contrarian to Manny’s theme. Manny is this full of life guy who is not really doing anything professionally.
The song that follows this, Khulke Jeena Ka, is one of living a whole lifetime in a short span, trying to say that time is as long or short as you make it to be! Also, this song is shot in Montmarte parts of Paris, which is famous as the place Van Gogh, another genius suffering artist stayed in. A lot of the background of this song seem to be from his paintings – the wind mill, hill, rue, a cafe and so on. I really liked that touch as Van Gogh said something along the lines of, he could live a ‘long time’ and not paint, or paint and live life as he knows it but burn out. It was just heart wrenching to see Sushant in front of Van Gogh’s windmill with those lyrics!
This movie was a weird experience though, there seemed to be just Sushant and no Manny in some scenes, or maybe it’s just how we see it given the circumstances. It’s impossible to know now.
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Madan
July 27, 2020
Nappinai: I think abishekspeare is comparing that sequence to the Amsterdam one in FIOS. If you watched FIOS first (and liked it, it seems some people commenting here didn’t and maybe they will like DB more) and then came to DB, you will find that DB borrowed some of the set ups but without etching them out as well as FIOS did. There is a strong reason why Hazel badly wants to go to Amsterdam to meet Peter Van Houten. That doesn’t really come through here. The set up of the meeting in FIOS also makes the reality check hit hard because PVH seems to be initially treating them well by entertaining them to a dinner at a posh restaurant (but a dinner he is not present in). PVH also happens to come over to Gus’ funeral with a message for Hazel where he accounts (or tries to) for his behaviour but Hazel is already set against him by then and won’t listen. We don’t get all that in DB. I can’t really say how coherent it feels if you haven’t watched FIOS and maybe it does work well enough without that context. But when you can tell that the set ups are the same but for some reason they decided to greatly abbreviate the scenes in DB, it becomes underwhelming. I wish they had instead not had those scenes at all and done something different that arrives at the same destination.
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Amit Joki
July 27, 2020
I think the MeToo reference has been deleted?
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brangan
July 27, 2020
Sigh. Sigh. Deep sigh.
It was an editorial suggestion. I was in two minds and gave in because the review had to go out soon. It’s gone now.
There are really times I wish I could go back to the Sunday Express model of having to publish the review only on Sunday 😦
But I am pretty sure another set of people will now clamour for these disclaimers. My stance is simply what it has always been: the art and the artist are different. But we live in a certain moment, so…
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N Madhusudhan
July 27, 2020
@BR – “My stance is simply what it has always been: the art and the artist are different.” – That’s fine but aren’t you drawing unnecessary attention to a false allegation? Those charges were cleared later. By that logic, you should have mentioned SSR too, no? Because a certain blind item said so. Aren’t you supposed to be extra careful when these things get published? Particularly when they are as misleading.
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MANK
July 27, 2020
My God, if even Brangan is forced to do things with his review that he doesn’t want to do, then this is A very bad time.
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Madan
July 27, 2020
” That’s fine but aren’t you drawing unnecessary attention to a false allegation? Those charges were cleared later. ”
You have to understand that as per a certain woke mindset, allegations are never false and there is no ‘clearing’, only wrongful exoneration of a predator. Accordingly, the taint ought to stay no matter what, with no respect for due process or, in this case, even the outcome of said process where it doesn’t suit the narrative.
Anyway, it gives me no pleasure to see that, in essence, my hunch was right. He didn’t put it in there originally but was told to. Such are the times.
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N Madhusudhan
July 27, 2020
@Madan – Wouldn’t have made a difference had it been Twitter or some other website. But it’s a bit alarming when you see it in a BR review.
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Devarsi Ghosh
July 27, 2020
Perhaps one way to appease everyone but also maintain the grace of your own writing as you intended is to add such information in a footnote. Put a * beside xyz, and in the bottom, one can write he is cancelled for such and such reason.
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Anu Warrier
July 27, 2020
Madan, BR was told to, he didn’t have to. 🙂 And yes, I totally understand why he chose to do so. If he hadn’t put it in, a different set of people would have been clamouring for his head – “Why didn’t you mention that the director was accused in the #MeToo campaign?” One of those cases where he’s damned if he does and damned if he doesn’t.
This is water under the bridge now, but I would have – as Devarsi suggests – put it in a footnote, or written, ‘The director was accused in the #MeToo campaign and later cleared of all charges.’
In any case, I’m glad it has been deleted. It added nothing to the review.
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Madan
July 27, 2020
” One of those cases where he’s damned if he does and damned if he doesn’t.” – Which is why I am putting the onus on the people who wanted it inserted. Just because you can doesn’t mean you should. The integrity of the original write up should be respected. It used to be with Editors’ note in the parenthesis as you said. Let whoever wants the edit made take accountability and not force the writer to carry the can.
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TamilThanos
July 28, 2020
@Devarsi, This is not new. Baradwaj has done this quite a number of times now. I actually appreciate it. It just tells “Look, the person might be a jerk, but I am reviewing only the art here”
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nikkie1602
July 29, 2020
Found this really interesting article which talks about the interaction between mathematics, infinity and love in The Fault in Our Stars and Dil Bechara.
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