 You can watch this one entirely for the growth in Emran Hashmi as an actor. And all you hotties, sorry, but the coveted kiss is missing once again. Aaditya Dutt’s second coming ‘Dil Diya Hai’ may not be in competition in the best film of the year award, but giving due credit to this young dude, I think one notices impressive layered dimensions in his characters in spite of a hackneyed (And at times bizarre) script.
 The first half moves on a swift ‘Dilwale Dulhania Le Jaynge’ mould in a scenic locale (Including missing-the-train syndrome and the bumpy ride through smooth European roads). Bipasha Basu look alike debutante Geeta Basra sheds plenty of inhibitions in the second half much to the glee of Penny Crowd while bad boy Ashmit Patel hisses-n-snorts his way around. As for its Box Office verdict, then with a trendy (Though repetitive) Himesh Reshamiya music and some decent performances, it may manage to break evens stevens.
Saahil Khanna (Emran) is a small time travel agent in London with an ailing mother in tow. Neha (Geeta Basra) lands up in UK with her family to enjoy a vacation ‘organized’ by Saahil. After a brief misunderstanding, Neha falls for debonair Khanna’s aloof nature while apna Emran bhai is not interested in love or any possessive relationships as it becomes difficult to live up to the expectations of one’s loved ones. Although a stranger in Ronny (Mithun Chakravorthy) and his wife Michelle (Kitu Gidwani) tries to show him reason, but Saahil has other things on his mind.
 He sells Neha for a fat sum of money to a big pimp Kunal (Ashmit Patel). The motive is rather stale, but then what can one do: His mother was fighting for his life and the money was critical. Coke snorting Kunal talks in a painstakingly husky voice, trying to sound sinister-n-less-chikna with a scared-for-life Neha. After clicking her nude and imagining getting into a love-filled orgy with a backless Basera….sorry Basra…It’s time for the monster to turn an angel. So, now there’s a love triangle and the poor girl is caught up in a messy situation. But hang on, there’s bad-man-turn-good-samaratin Ronny to show his fighting skills. Reformed Saahil throws in a few mean punches of his own too.
One shouldn’t look for too much of reason in this jazzily put together commercial flick. It’s definitely more tightly woven than his insipid debut called ‘Aashiq Banaya Aapne’. The unspoken love is conveyed poignantly at times. Even the verbal-volleyball between Saahil and Neha is catchy at times. The lecture on ‘Mohabbat’ by self-appointed Love Guru Ronny is a pain at times and endearing at a few occasions (Especially when he picks up that guitar and strums along in style). The film falters badly in the whole prostitution business. It is ill-conceived and a few of the dialogues are corny to say the least. And for God’s sake, how lawless can London be…It’s as if it’s some deserted state where anarchy rules and anybody can get anyone picked up with no law to take action. Even the built-up of romance between Saahil and Neha could have been more pertinent.
There’s good news for Emran Hashmi. Dude, you are growing as an actor with each outing. Hashmi’s studied silence, the angst of possibly losing his mother and then being derided by his object-of-affection has been portrayed competently. He has the capability to add a punch with his dialogue delivery too. Newcomer Geeta Basra is good for her first film. Her striking good looks, ample oomph factor and flair-for-histrionics make her to be a far better find than Tanushree Dutta (Aaditya’s discovery in Aashiq Banaya Aapne). Ashmit Patel as the love-sick weirdo plays his part well. I am sure even he must have cringed w
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