Tum Milo toh Sahi - So much to say, so little time...

Like many themes converted to films, mechanical corporate sharks wanting to take over a warm, cozy place associated with a lot of emotions, is not new. But Tum Milo Toh Sahi makes a genuine effort to make it meaningful. The emotions are not superficial, you identify with the characters. And yet you are not rooting for the protagonists and neither do you want to take the "wrong-doers" to court.

Tum Milo To Sahi is a little bit about a lot of things. The most obvious one is a comment on disregard to saving the country's heritage by both its government and citizens. The "metropolitan corrupting small-town simple-mindedness" take is hard to miss too. Then you have ambitious characters being judged as greedy and insensitive under the mask of westernization. Society's lack of sympathy towards an unmarried mother is frowned upon too.

So much to say, so little time. And thus, everything is said in a rush and the audience can't engage in anything at all. You watch with interest but no involvement. And there are a few things to hold your interest in place almost till the end.

Dimple Kapadia and Nana Patekar's acts are completely spell-binding. Dimple Kapadia, in fact, reminded me of her character in Saagar. Buoyant and sensitive, loud and thoughtful, street-smart and direct. Nana Patekar does his usual frustrated common man deal, and does it well. The rest of the actors though are completely out of the veterans' league, though. Especially the kid who over-acts notwithstanding his over-done Australian accent.

I enjoyed the set-up in the beginning too. The camera-work and way of introducing characters was different and pleasant. Usually I get annoyed in a film with hardly any long shots. But, this one it didn't disturb me. Though I think I'd have grasped the characters better if I was shown their environment every once in a while.

The story is also played out and connected between the numerous characters pretty well. Despite the predictability, the piecing together of the different sub-plots is fun to watch. But alas, all goes **phut** in the last 20 minutes. All logical reactions given their characters go for a complete toss losing head and tail. Characters transform like they attained nirvana overnight. And soon enough a nice film becomes **eye-roll** material.

The lines are fun but only sporadically. The preachy ones are more than what one wants to hear for entertainment or education.

In the film, Nana Patekar never believes in saying ‘Sorry’ and Anjana Sukhani never believes in saying ‘Thank You’. While the film is endurable enough that we wouldn’t want director Kabir Sadanand to say us Sorry, it isn’t entertaining enough that we would want to say him Thank You.

However, the lyrics of the title song are a pleasant surprise, especially considering the other mediocre writing in the film. A comment on the vacant space in relationships and general human disconnect with each other is insightful.

It's disheartening that the last 20 minutes can undo the work of the first 110 so badly. This one will make a decent-enough watch when the DVD is out or when it has a TV release Especially when IPL's around...