Most undeservingly overhyped movie of all time??

Did you people see the same film I saw?

There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

This film is one of the worst melodramas I have ever seen. The plot is witless and contrived, the songs are boring and the acting is wooden. Just when you think it couldn't get any worse, some ridiculous plot twist comes flying in from the clouds. I am no fan of Salman Khan and while I am still willing to give Ash a chance, this film is the sort of junk that gave her a bad reputation in the first place.I will say, however, that the photography and sound were good, so it wasn't completely painful to watch. It's only bad when you pay attention to the actors or the script.You have better things to do with your time, believe me.

Overall, I enjoyed this movie. It did most of the things I expect from Bollywood ... good songs, good dancing, a ridiculously hot girl, and at least initially a petty and simplistic plot.As the movie progressed, things got a lot more interesting and my hopes for the movie grew quite a bit as the husband character entered the picture.At the end, however, I can't help but feeling this movie let me down. It seemed to me to be a poor exercise in rationalizing the custom of arranged marriages and therefore an exercise in rationalizing what is effectively institutionalized slavery (the transfer of property rights ... in this case the "property" being Aishwarya). At the end we have the female lead expressing such notions as "love means sacrifice" which may be true, and was indeed noble when the husband was trying to find Sameer for her (although I don't quite know why the husband thinks he "loves" her when in fact he didn't know her at all at that point. He just recognized she was good-looking) but in this case the notion of sacrifice is only used as a rationalization for why Aishwarya should be willing to take on the traditional subservient role to her father and husband. CLEARLY her love of Kahn must have been silly, vain, and wrong because she wasn't "sacrificing" in that case, but now that she's agreed to do what all the males wanted her to do in the first place it is only NOW that she really understands what love means (a lesson naturally taught to her by her "husband"). And plus, her husband isn't really such a bad guy after all, so why rock the boat ... right? All pure rubbish, but I'm sure the people that feel arranged slavery is fine and dandy will have no problem sleeping at night after the twisted rationalizations that made it fine and dandy in this movie.Also, the depiction of Italians was borderline racist, but that wasn't central to the plot so I'll leave that one alone ...

The second half of Hum Dil De Chuke Sanam is loosely inspired by the 1983 Naseeruddin- Padmini- Anil Kapoor film "Woh 7 Din" which itself was a remake of a South Indian Film.The first half's plot is from Maitrayi Devi's Bengali novel "Na Hanyate" (English translation: It does not die) which was written in response to world-renowned scholar Mircea Eliade's semi-autobiographical novel "Bengal Nights". There are several resemblances, including the 'mirchi-eating' incident, which suggest that they are more than uncanny resemblances.There are numerous films in several languages which have been based on literary works. There is nothing inherently wrong in that, except that in this case, Bhansali has not acknowledged the 'right' source of his work. We have heard that HDDCS has been based on a script told to him by one of his Gujarati fans. Really, Mr Bhansali? Or is it a case of acting naive and passing the responsibility of plagiarism to your Gujarati fan when one finds out?

and here she plays a pretty little daddy's girl, sheltered away from the world in a palace type setting until an Italian-Indian student (played by Salman Khan) comes to town and steals her heart. Luckily but also sadly enough for her, her father and Khan's music teacher realises this before he (Khan) is able to steal his daughter's innocence and sends him packing. The problem is, the two youngsters are so in love and not even distancing them would set them apart. A new man comes into the picture, a local whom the whole family loves (played by Ajay Devgan) and marries Nandini (Rai) but little does he know that this is the beginning of a nightmare rather than honeymoon. Nandini is set in her ways and while she has married this man, she vows never to let him touch her. Frustrated, Devgan's character decides to take Nandini to Italy for a selfless search of Khan's character. All sorts of things happen to them along the way, and this tests Nandini's love for both men. All of this occurs under the backdrop of great music, song and dance numbers, awesome set designs, locales etc. etc. It is the ending that makes this film a true classic, as well as the superb acting of the entire cast! Rai won her first Filmfare (India's answer to the Oscars) for her role as the tempestuous Nandini.