By Taran Adarsh, August 15, 2003
To remake a blockbuster is indeed an arduous task. And if the same subject has been attempted thrice in the past and has found appreciation all the three times, getting it right the fourth time is nothing short of a challenge.
Besides living up to the mammoth expectations and maintaining the essence of the original[s], the director also carries the responsibility of seeing to it that his interpretation matches that of the predecessors in terms of presentation and most importantly, the box-office outcome.
Satish Kaushik's TERE NAAM lives up to the hype and expectations, besides doing full justice to the three originals -- SETHU [Tamil], SESHU [Telugu] and HUCCHA [Kannada].
Radhe Mohan [Salman Khan] is a loafer, but a gem at heart. He meets Nirjara [Bhoomika Chawla], the daughter of a priest, who has just joined the city college. Radhe falls for her simplicity and innocence and dreams of marrying her.
Radhe declares his feelings to her, but Nirjara refuses him outright. Unknowingly, Radhe saves Nirjara's elder sister from an adversity. Rameshwar [Ravi Kissen], Nirjara's fianc?informs her of this incident.
But before Nirjara can express her love to Radhe, something drastic happens...
Though Bollywood has churned out love stories since time immemorial, the story of TERE NAAM is genuinely 'hatke' since it doesn't follow the standard rules of a romantic film.
There is no parental opposition, nor is there a rich versus poor angle, nor does it look at two different religions or caste differences, also there is no third lover popping up from somewhere.
TERE NAAM primarily revolves around two simple characters. Two believable characters. The reasons that bring them together are realistic and the conflict that ensues is equally convincing. This factor is its USP.
Yet, TERE NAAM is a complex love story...
Director Satish Kaushik opens the cards at the very outset: The hero is a vagabond, the girl is a simpleton. But opposites don't attract in this case!
The clash between the hero and heroine builds up convincingly and the change of events at the interval point catches you unaware.
But the pace slackens in the post-interval portions. The second half starts off brilliantly, the confrontation between the hero and heroine is amongst the best sequences of the enterprise and the pace is maintained right till the hero lands up in the hospital.
But the moment the focus shifts to the traditional shelter for the mentally imbalanced, the pace slackens. Fortunately, the last half-an-hour gathers momentum yet again and the sequence of events, right till the finale, are heart-rending.
A small section of the audience may not take to the ending whole-heartedly, mainly because it's not a conventionally joyous culmination. But tragic ends have gone down very well with cinegoers, in turn translating into grand box-office victories. Instances: MUGHAL-E-AZAM, EK DUUJE KE LIYE and QAYAMAT SE QAYAMAT TAK.
Director Satish Kaushik is in complete form this time around. To accept the directorial reins of a love story that defies the stereotype, is indeed a challenge. But the way Satish has treated the subject speaks volumes of his aptitude.
He is most comfortable in dramatic sequences, in fact that has always been his forte. In this film too, he executes the dramatic portions with panache, besides extracting a stupendous performance from Salman Khan. Even the climax is so effective that your heart goes out to the lovers!
Himesh Reshammiya's music may not boast of chartbusting hits, but gels well with the mood of the film. The 'Odhni' number is the pick of the lot. However, the placement of a few songs in the first half could've been better thought of.
Cinematography [S. Sriram] is excellent. Dialogues [Jainendra Jain] are natural to the core. Action sequences [Mahendra Verma] are raw and appealing.
And now to the performances! Salman Khan is exceptional in a role that fits him to the T. He breathes fire in sequences that demand uneasiness. But beneath the tough exterior lies a vulnerable person and this facet in particular comes to the fore in the latter reels. His emotional outbursts are splendid, and making him break down on several occasions is another human aspect that director Satish Kaushik explores -- tough men also cry!
Bhoomika Chawla reminds you of Bhagyashree. Her simple, humble, traditionally Indian character should go down very well with the viewers. Her performance is first-rate.
Ravi Kissen is excellent. The sequence with Bhoomika prior to the interval is well handled by the actor. Sarfaraz Khan is another actor who catches your attention with a flawless performance. Sachin Khedekar [brother], Savita Prabhune [sister-in-law] and Anang Desai [doctor] lend decent support. Mahima Chaudhary's dance number is quite good.
On the whole, TERE NAAM is rich in emotions -- a fact that would go in its favour completely. The hype surrounding the film has resulted in a strong opening and coupled with its merits, it should prove an earner for its investors. Business in the Hindi belt should prove to be the best, considering the backdrop of the film [North India].
For lovers of Hindi cinema, says 'yes' to TERE NAAM.
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