Babbars Films (P.) Ltd.’s Kash… Aap Hamare Hote is a love story. A young girl, brought up by her father’s bosom pal after the death of her parents in an accident, gets married to the son of her guardian as per his (guardian’s) wishes. The son stays in Canada and once there, the wife is shocked to learn that her husband’s business partner is also his mistress. She gets a bigger shock when he asks his friend, a lecherous man, to sleep with her. She runs away from there and takes shelter in an Indian boy’s house. The boy is young and handsome and also lonely.
Slowly but surely, he falls in love with her but when he hears her woebegone tale, he perishes the thought of proposing marriage to her. Rather, he helps her with a duplicate passport and, with assistance from his Indian boss, arranges to send her back to India to her guardian. Meanwhile, the guardian, smelling a rat, comes to meet his ward-turned-daughter-in-law in Canada. Not finding her with his son, he senses that his son must have wronged her and sets out in search of her. Here, the girl learns of the Indian boy’s feelings for her and agrees to stay back in Canada. Fate and the Indian characters in the drama unite the girl and her guardian. In the end, her husband is killed by his own father.
The story is as old as the hills. The screenplay (Ravindra Peepat and Atul Tiwari) offers nothing new as it relies on several cliched situations and predictable turns and twists. How the girl’s guardian, who is so intelligent and caring, could get his ward married off to his son whom he also does not trust, is not explained. And since the marriage is the first turning point in the story, everything thereafter looks resting on a weak foundation. The husband is shown to have not had physical relations with his wife although he is of loose character. This is shown not as much because it goes with the guy’s character as to keep the girl’s modesty intact since she is to later marry another guy. This is yet another piece of convenient screenplay-writing. Dialogues (Atul Tiwari) are, however, good and meaningful at several places.
The almost mandatory four friends of the hero do nothing worthwhile to enliven the drama. Comedy is quite feeble at most of the places. Emotions in the second half definitely touch the heart but the first half is so boring that many among the audience have, by then, switched off or almost so. Despite being a romantic film, there’s hardly any romance in the film since the love is one-sided.
Sonu Nigam is quite good but needs to loosen up in dramatic scenes. He dances well. Debutante Juhi Babbar is a fairly natural performer and looks okay. Sharad Kapoor is average. Om Puri is alright before interval but shines thereafter. Raj Babbar is endearing as a Sardar full of life. Saadhika leaves a mark as a vamp. Raavee Gupta does reasonably well. Both, Saadhika and Raavee exude oomph. Johny Lever is quite irritating. His dialogues are not too comprehensible. Vivek Shauq, Hanif Patni, Riyaz Ahmed and Prashant Tate, as Sonu’s friends, pass muster.
Ravindra Peepat’s direction is smooth but does little to free the story of its dated feel. Two songs, ’Shaava pardesiya’ and the title track, are the better ones (Aadesh Shrivastava). But the placement of the title track, ’Kash aap hamare hote’, after the two have decided to unite, is wrong. Song picturisations are a little above the average. Action scenes are functional. Camerawork (Manmohan Singh) captures the foreign locales beautifully. . Production values are good.
On the whole, Kash… Aap Hamare Hote has some emotions to touch the heart but that’s about all. Given the dull start, it would find the going tough.