Rehna Hai Tere Dil Main (2001)
Starring: Mahadevan, Saif Ali Khan, Diya Mirza
Director: Gautham Menon
Music Director: Harris Jayaraj
Synopsis: Old fashioned romance triangle lacks a key ingredient; charm.
Reviewed by: Faiz Khan

South Indian superstar R. Madhavan made his Hindi debut in this frothy but ultimately rather vacuous romantic drama. The ingredients are certainly there for an engaging modern fairy tale, something that a director like Mahesh Bhatt might have infused with genuine warmth and emotion. In the hands of Gautham Menon, however, Rehnaa Hai Terre Dil Mein remains an agreeable enough diversion but never blossoms into the charming romance it so desperately wants to be. Its biggest failing is simple—it lacks genuine charm.

Maddy (R. Madhavan) and Sam (Saif Ali Khan) are sworn enemies during their college days, forever surrounded by their respective gangs. Maddy is little more than a lovable street rogue, while Sam eventually leaves for America to build a successful future.

Three years later we find Maddy transformed. Now a qualified mechanical engineer, he teaches part-time and works for an engineering firm in Mumbai. Offered the chance to spend a year in San Francisco, he declines because he doesn't wish to leave his widowed father (Anupam Kher).

One rainy evening he catches sight of Reena (Dia Mirza), dancing joyfully with a group of children, and instantly falls head over heels. The scene carries a strong sense of déjà vu, feeling remarkably familiar to anyone who has watched enough Bollywood romances, but it serves its purpose. Maddy is smitten.

His pursuit eventually leads him to discover that Reena is engaged to an NRI named Rajiv, due to arrive from America in just a week's time. Rather than accept defeat, Maddy decides upon an outrageous deception—he pretends to be Rajiv himself.

Remarkably, Reena falls completely under his spell within a matter of days.

The problem is that instead of allowing their relationship to develop naturally through character and dialogue, the screenplay simply inserts one song after another. Three musical sequences arrive in rapid succession because the script struggles to generate enough dramatic material to sustain the romance on its own.

Just as Maddy prepares to confess the truth, the real Rajiv arrives.

Naturally, Rajiv turns out to be none other than Sam—his old college rival.

Reena is devastated by the deception and rejects Maddy outright, forcing him into increasingly desperate attempts to win her back. Ironically, rather than behaving like the responsible engineer the film has established him to be, he quickly reverts to his old street-fighting persona, surrounded once again by his cronies and seemingly far more interested in settling scores than earning forgiveness.

From that point onwards the film follows an entirely predictable path, and there is never any real doubt about who Reena will ultimately choose.

Madhavan makes an appealing Hindi debut. He possesses an easy-going naturalness before the camera and a likeability that survives despite the screenplay's weaknesses. Unfortunately, he is badly let down by material that never allows either his character or the romance to develop beyond the superficial.

Dia Mirza is certainly attractive and photographs beautifully, but she lacks the commanding screen presence needed for the role and her dialogue delivery is still rather tentative.

Saif Ali Khan, despite appearing in a comparatively small role, demonstrates just how much he had already matured as an actor. He brings confidence, humour and energy whenever he appears and, if anything, threatens to steal scenes from the leading man. One only wishes the obligatory shirtless posturing had been left on the cutting-room floor.

The music is pleasant enough without ever becoming exceptional. The title track remains the obvious standout, but surprisingly few of the remaining songs leave much of a lasting impression.

Rehnaa Hai Terre Dil Mein is one of those films that looks far more romantic than it actually feels. The premise has enormous potential, yet the screenplay settles for familiar clichés, montages and songs where genuine emotional development should have been. Pleasant enough while it lasts, but ultimately something of a missed opportunity.