Our 3 heroes’ common bonhomie brings us to Bankruptcy 11, the place the movie fractures its narrative into 3 separate lives; I gained’t expose the character of the ruin. I name it through its bankruptcy list on my circle of relatives’s DVD reproduction of “Dil Chahta Hai,” a chain my brother and I discovered so frightening we skipped it each and every time we watched the film. This, to our really extensive grief, ultimately rendered the disc unplayable.
The movie’s perfect indicator of cool is its rating. Akhtar had first of all sought A. R. Rahman, however the process went to Shankar, Ehsaan, and Loy, a trio—hello!—of rather new Hindi movie composers. “Dil Chahta Hai” used to be their breakout hit, they usually’ve been in consistent call for ever since. The movie’s name music backs the 3 buddies as they pressure to a post-graduation vacation in Goa, however none of them sing it. It’s a minimalist ode within the background that defines a temper—an ease, a convenience, an openness, jazzy, up for anything else. Akash, Sameer, and Sid fish, trip bikes, snooze on a dock, try to fail to be pensive on a rented yacht, dine on recent waterfront foods as they watch the sundown. They've nowhere to be, and the place they're is solely high-quality.
In all probability essentially the most arresting music within the movie is “Koi Kahe, Kehta Rahe,” the immediately catchy dance anthem, sung through all 3 buddies and their school classmates at their commencement celebration. Its propulsive, stable percussion supplies worthwhile pep, pulling you into the narrative, your ft and arms tapping mechanically.
Even the 3 character-defining songs—one for every of the lads—have distinctive feels and layers. “Kaisi Hai Yeh Rut” is an exploration of Sid’s inner, which he stocks with nobody, no longer even his buddies. He sees the sector via a clear out, no longer the type on Instagram, nor person who conceals or obscures. His view is magical. There's serenity and lightweight and beauty. Sid doesn’t want meals, drink, or a mattress. He's powered handiest through artwork and love. “Jaane Kyun” is a dialog Akash has with Shalini, debating the character of affection and whether or not it is important. They move from side to side: Udit Narayan sings for Akash, and his cadence is cavalier, even flippant, while playback singer’s Alka Yagnik’s vocals for Shalini leap sweetly, extra conventional in construction, gently arguing in protection of affection.
In my movie-watching existence, “Dil Chahta Hai” used to be the primary time actors had been converting costumes and places no longer as a result of they had been vamping whilst hopping from a Dutch meadow to a Swiss hillside, however as a result of their debate takes position over the process many days, weeks, and months. Sameer is going on a adventure in “Woh Ladki Hai Kahan,” a fanciful, kooky tackle a proud Hindi cinema custom: the meta music. Whilst on a film date thinking about the positioning of the lady of his goals, Sameer explores 3 distinct eras of Hindi motion pictures. First is the black and white cinema of the Nineteen Forties and ‘50s; each Sameer and his date are dressed as Nargis and Shammi Kapoor, draped within the beaded robes and tuxedos commonplace in motion pictures all through and post-Global Battle II. Subsequent they go back and forth to the Nineteen Sixties and ‘70s, a chain that paradoxically parodies Saif Ali Khan’s personal mom, Sharmila Tagore, and the ever-dashing Rajesh Khanna, each field workplace superstars of the duration. Everyone seems to be bouncy, clad in shiny colours, paisley, tinted sun shades, plaid, cravats for the lads and headbands for the ladies. The overall phase mocks the Eighties and ‘90s: Sameer and his date ape Anil Kapoor, who by no means did not attraction with the sweater tied spherical his neck, pompadour bouncing as he runs, and Sridevi, wrapped in chiffon saris, hair puffed to the skies, dancing on gorgeous mountaintops.