Cast: Deepshikha Nagpal, Kaishav Arora, Inder Kumar, Rajesh Khera, Ayub Khan, Chitrashi Rawat, Delnaz Paul, Kunika Paul.
Director: Deepshikha Nagpal
Yeh Dooriyan's synopsis says that the film is about a successful and divorced choreographer Simmi Nagpal, who would marry again, if she finds a guy, who could love her two children with equal zeal. Simmi runs a dance academy, and lives with her parents.
Her parents want her to marry for the sake of the kids. She meets a young model Raj Arora, on a fun trip. Raj also feels a soft corner for her and comes to her dance academy as a pupil. Gradually, Simmi begins to feel attracted towards Raj, but does not express her feelings, as she does not want any casual flings.
Finally, Raj convinces Simmi that he is not just another guy. Now, Simmi becomes serious about him, but then Raj's mother comes unannounced, finding them in a not so casual situation. The mother brainwashes Raj in the name of established social norms, who backs off, once his mother scolds him for being in relationship with a divorcee.
Meanwhile, Simmi's ex-husband Aditya returns. Now, Simmi has to decide her stance; whether she will go to Aditya or will remain in love with Raj.
Deepshikha's name has entered the Limca Book of records, as she has fulfilled the responsibility of several people, from writing to direction to costume designing, on her own, and if Kaishav Arora, is to be added, then both of them have done almost everything of the film. Their involvement with the film was so high that they even did not bother to change the surnames of their characters. Deepshikha's own children play her on-screen kids also, which makes Yeh Dooriyan a complete family film.
The idea of starting the film with a song is really not bad. One needs a little doze of entertainment to remain in the seat, before the actual action starts. However, the actual action takes so much time, that the audience wish to see another song.
In fact, songs are better to watch than the rest of the film. At least, the audience would not be tortured by the stale acting of the wannabe hero, Kaishav Arora. Arora's name figures in the producers’ list too, but he has not done a good job to put his money on himself only. Arora can’t act for life. His pauses are lethal, they can kill any story.
Deepshikha looks stunning and absolutely in shape. She can give any Hindi film heroine, a run for money. She has done justice to her role. However, she has not shown apt command on others' acting barring Delnaz Paul and Inder Kumar to an acceptable extent. Children look familiar to camera but the dialogue writer, Deepshikha again, should not be spared to give them the dialogue, 'Raj Ankil, Aap Bhi Chalo Na..Chalo Na..Chalo Na..', endless number of times. Rest of the actors are just fillers.
The screenplay takes a lot of time to establish the characters, and eventually they don't get established, except Deepshikha's. The director has focused more on the exotic locations, rather than the acting. One film could work well with the close ups also, provided the writing is tight. No doubt, Deepshikha has put great efforts into the film, and it shows in her acting, which is a class apart than fellow actors, but not everything went according to her plans. She could not control Arora's annoying smile and curved eyebrows.
Director's inexperience becomes visible, when she goes with the clichés. Whenever she comes into a room or out of a room, the camera tilts from toe to tip. Sometimes, one feels really helpless, when Deepshikha puts on a catholic wedding dress, or does a bikini stint, or goes for a car accident after a heated discussion. It seems that she is gratifying her thirst of being a proper Bollywood heroine.
The editor and the camera are satisfactory. They can’t do more than what the director asks. The editor has tried hard in song sequences, but is pathetic in slow motion close ups. They are so slow that the flow of the sequence gets hindered. Sometimes, the dolly shots are cut much before they end, even when the viewer expects an important facial expression. The cinematography department tries to offer something fresh in flashback scenes, with mood lighting.
Background score is made on the lines of 'saas-bahu' serials. The sound effects are constantly audible. Songs have nothing new to offer. However, Mika Singh sizzles in 'Main Jab Tumse Mila'. Mika has developed his own style and that sounds good.
One thing that makes this film different is its climax, which is still problematic to digest for a conservative society. Deepshikha should be praised for her bold take on the issue of being a divorced parent. She stands by the issue and looks convincing in the ultimate sequences and that is the USP of the film. Yeh Dooriyan celebrates womanhood, and presents the new age independent woman, in a brave manner. She should be praised for it. Your opinion about the film will depend on your social perspective.
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