Dil Se Re

thot Amar knew she had already worn the suicde-vest but when he huged her, he looked shocked- my take is tht he thot she was on way her to wear the vest, so he was going to stop her but realized he was too late &so, he decided his fate

I really admire Amar. He still loved her despit wht he found out abt her (even at the beginning, when she went into a frenzy after he touched her, he still wanted to marry her. I know, most guys wud run away if they ever saw an episode like that)

Maybe it wud shed some light on the whole poetry in the sand part. I guess they were trying to make another similarity between she writing her lil poem & Majnun writing his poems

Tho, now since u mentioned abt "some people can be carried off by the wind", maybe Meghna was trying to tell Amar, tht he was too naïve to fully understand her (she must have realized tht Amar saw everything in black & while she saw only grey parts) & wud be upset if he found out what she truly was

What I also like abt this movie was tht the fight sequences seemed real (like when he was getting beaten by her brothers & when he was trapped in a ghetto alley with them).

The ghetto scene, nearly scared me out of my wits (especially when he screamed "don't take me there" in a muffled voice. I got chills) . I am glad tht they didn't make Amar "a tough guy" who doesn't feel any pain & loved how the the film did a great job of transferring his fear to this viewer.

For the Satrangi Re song- didn't u feel that it was very sensual,& had a lot of double innuendo (u know her wearing the rope top or SRK&MK squirming around in tht red thing &pointing at various angles)

I remember the 1st time after me & frens watched it, we were like "cud somebody open the window". I'm surprised nobody in India caused an uproar. Honestly, I think films should take tips from this movie on how to be amorously sexy without being cheap

Not only the songs were prophetic but the jokes, ( like u said b4) the terrorist leader was like "if u quit radio, u can join us" (I wonder if the CBI had heard this on one of the tapes, & came to the conclusion tht he became a terrorist too. Well, he wasn't)

& tht line in the phone conversation "I'm not dead. I won't die till I find you'-it never occurred to me until u mentioned it. The director was practically shouting out the "biggest clue" on wht to expect at the end

Amar even calls her "Moyna" at the end. U know, when she tries to get by him, he holds on to one of her hands and says "Moyna, this is the truth, Moyna" before pulling her towards him (I am sure that u have that part too. Trust me, if u listen carefully, u will hear him calling her Moyna twice)...

I am surprised- if u didn't know her real name, then didn't u find it odd tht he called her tht?... Moyna is a very rare name, which is a variant of Mona

At Ladahk, when Amar asked her whther the name Meghna was real or false, she mentions "false" (which angered him even more becoz he didn't want anymore games ever since he got beaten). Then at Red fort, when Amar confronted her, while she was talking abt her life, she mentions her name "Moyna".

I know for sure, u have the scene where her sister is getting raped (u can hear her saying "Moyna, Moyna run away, little one, run away")

I saw this movie 2 yrs (I still remember evry last detail. So, u can imagine the kind of impact it had on me). Yeah, Eros isn't upto par. Next time,if u want a Bollywood DVD, chose Digital Entertainment Inc (I think tht was wht my fren had). I have been trying to get hold of the DVD for some time

I read tht Spike Lee had asked his students which 1st Bollywood film to watch, one of them suggested Dil Se, & he loved it ever since (which was y he used "Chaiya Chaiya" for the Inside Man)

sounbdtracks from dil se = awesome.

It doesn't seem to have a huge effect on him at the time, and even then, again, she still seems like she's wavering. I wonder if he really does decide, that quickly—ie after he grabs her and she screams—that he's going to die with her. And during that same phone conversation he says, eerily, "I'm not dead. I won't die till I find you."

. Because before when they were on the phone, he was determined to find her so that he could take her away; yet when he finally does find her, his attitude suggests (to me, anyway) that he now knows it's impossible. Do you think it's because of when she says, "It's too late; I'm too far gone" on the phone?

It's almost like he's mocking himself, as though he knows that he's already too late. Yet as you say, he definitely feels the bomb only after he grabs her—but even after he does, you can't really see any clear change of attitude in him, as you might expect from someone who all at once decides that they're ready to die. It makes me wonder if he had a premonition beforehand, or figured that he wouldn't come out of it alive—or, at the very least, figured that she wouldn't.

...you must be right about the end, in that Amar doesn't know initially that she's wearing the bomb—because you can see the way he holds up his hand when she screams and he feels the bomb underneath her clothes. But his attitude even before this really seems like that of one who's prepared for death—the way he stands there watching her, and says "I have come," and holds up his arms in that sad, almost embarrassed way (totally heartwrenching).

Someone online said that they felt the "some people can be carried off by the wind" idea means that people who live normal, yuppie-type lives, like Amar I guess at the beginning, can be swept away by anything small—and that it's only passionate people who can make their mark. That seemed a little out there to me and that's totally not what I even thought she was trying to say, but it is a different perspective...

. I might try to find a translation of "Layla and Majnun" because I do think it has a lot of parallels (I'm glad you agree), and from the extracts I read, it sounds really beautiful. Ohhh and I wonder if that sheds any light on the whole poetry in the sand part...I think I read somewhere that Majnun, half-mad and living in the wildnerness, wrote some of his poems on the ground with a stick.

—the "paradise under his feet" line in "Chaiyya Chaiyya," the endings of "Dil Se" and "Satrangi Re," and the sense of longing and distance in "Ae Ajnabi." It also brings to mind that line where Amar says that he loves the distance between them because it's a reason for them to get closer. Separation and longing...I like it.

Also, incidentally, Baz Lurhman, or however you spell it, said that he got the inspiration for "Moulin Rouge" from Dil Se; and Moulin Rouge is the third part of his "red curtain" trilogy, the second part of which is "Romeo and Juliet." I didn't really like Moulin Rouge, but I guess that's not the point. And I agree; I think that they definitely go to paradise at the end...sniff...so that in a way all of the songs are prophetic--

No way—then there are totally parts I didn't see! I do have the Eros disc, and I don't have the CBI footage or the part where Amar learns her real name (??? What happens???). Damn. Eros is stupid anyhow because they have that 20 minute commercial that you can't fast-forward through...eghhh...do you have a different DVD? I didn't know that about the producer—that's very interesting, and it hangs together nicely.

I totally agree with u that they were fated from the beginning to transcend the physical , or like how I would like to put it- they went to paradise at the end of the movie, coz like u said at the end of Satrangi Re, they were in white, which indicated "scared union" (I guess that's another similarity to the the part about Layla and Majnun in paradise)

I so agree that this movie illustrates how human love becomes divine "through separation and longing"

I always thought tht the only reason Preti asked whther he was a virgin, was just to show tht she has has no inhibitions about saying or asking anything. But if they were trying to make a similarity with the Layla +Majnun story, then that's one way of achieving it (although like u said, Meghna's emotionally is a virgin)

At the end, when Amar came face-to-face with Meghna, he didn't know she was wearing the suicide-vest. Only when he hugged her, he realized tht she did

I am glad tht he got to her first, instead of the CBI (I mean, if they did, then she wud go to prison, & after wht she had went thru, tht wud been a horrible ending. In a way, I am glad tht they came together after being separated for so long). I definitely see the similarities between Layla+Majnun with Dil Se

u r so right, the ending was sort of like Romeo & Juliet (I guess, it shud have been expected. I mean, the producer of this film, Shekhar Kapur, is into Shakespeare. He's the guy who directed 'Elizabeth: The Virgin Queen')

The footage of the CBI stopping the attack can be seen during the end-credits (not at the end, but during. Do u have the "EROS DVD"? They usually cut many parts). One question- do u have the scene where Amar learns Meghna's real name?

ay ocmo lo amo a sharukh khan
!

Anyhow I'm finding this parallel beautiful and a little comforting because it makes me think that they were fated from the beginning to transcend the physical—or, in other words, that they were doomed. Heheh. The part about Layla and Majnun in paradise reminds me of the end of Satrangi Re, when they're all in white. And after they are blown up the screen goes all white for a few seconds...what do you think?

It certainly sounds similar to me—and I thought that was interesting since I'd been thinking of how Dil Se is kind of like Romeo and Juliet. That's what hurts the most about Romeo and Juliet too—just how cloooose they come to happiness. And every time you read it, or watch the film (I like the 1969 version), you just keep hoping that this time it will be different.

—that whole speech where Preeti is like, "I'm in the 20%...and I think you are too." Meghna, of course, is not technically a virgin, but spiritually I think she is, and romantically she definitely is. Also, incidentally, it appears that a Latin version of Layla and Majnun may have been a source, or the source, of Romeo and Juliet, though that's not a definitive fact.