Love
knows
no
language.
Love
knows
no
barriers.
Love
knows
no
age.
It's
this
thought
that
director
Kabir
Sadanand
tries
to
encapsulate
in
his
second
directorial
venture
TUM
MILO
TOH
SAHI.
TUM
MILO
TOH
SAHI
may
not
be
the
most
amazing
take
on
relationships,
but
it
has
several
moments
that
make
you
experience
myriad
emotions
in
those
two
hours.
Especially
the
portions
involving
Nana
Patekar
and
Dimple
Kapadia.
Having
said
that,
it
must
be
pointed
out
that
the
Rehan-Anjana
portions
are
just
not
captivating.
They
lack
the
power
to
keep
you
hooked.
Yet,
the
outcome
is
much
better
than
what's
being
churned
out
in
the
name
of
cinema
and
entertainment
these
days.
Final
word?
Watch
it,
especially
for
veterans
like
Nana
and
Dimple,
whose
stellar
act
proves
that
old
is
gold,
indeed!
Set
in
modern-day
Mumbai,
with
all
the
demands
and
pressures
of
city
life,
the
film
weaves
together
the
lives
of
three
couples
who
connect
with
each
other.
It
is
about
the
meeting
of
souls
[Nana
Patekar
and
Dimple
Kapadia],
the
meeting
of
minds
[Suniel
Shetty
and
Vidya
Malavade]
and
the
meeting
of
hearts
[Rehan
Khan
and
Anjana
Sukhani],
underlining
that
love
is
the
driving
force
in
people's
lives,
irrespective
of
age.
TUM
MILO
TOH
SAHI
has
three
different
stories
running
concurrently,
but
get
merged
into
one
after
intermission.
The
Nana-Dimple
chapter
is
the
pick
of
the
lot,
in
terms
of
writing
and
execution,
followed
by
Suniel-Vidya
track
and
Rehan-Anjana
story.
Nana's
eccentric
persona
is
a
delight.
Watch
him
in
scenes
in
the
super-market
or
when
he
encounters
a
eunuch
on
the
street.
His
interaction
with
Dimple's
grandson
is
fantastic
too.
Suniel
and
Vidya's
story
has
been
treated
sensitively,
but
a
few
moments
are
plain
ordinary,
especially
their
initial
portions.
Rehan
and
Anjana's
sub-plot
is
the
weakest
link
in
the
enterprise,
although
the
actors
make
up
with
earnest
performances.
This
is
director
Kabir
Sadanand's
second
venture
and
I
see
a
distinct
evolution
in
him
as
a
storyteller.
Kabir
has
handled
several
sequences
with
flourish.
Sameer
Siddiqi
and
Rajen
Makhijani's
screenplay,
as
mentioned
earlier,
has
its
share
of
engaging
and
non-engaging
moments.
The
climax,
of
course,
is
the
highpoint
of
the
film.
However,
the
film
is
very
Mumbai-centric,
which
would
restrict
its
appeal
at
other
places.
Sandesh
Shandilya's
musical
score
is
decent,
with
the
title
track
being
the
pick
of
the
lot.
Pushan
Kripalani's
cinematography
is
eye-catching.
It's
a
treat
to
watch
Nana
and
Dimple
on
screen
after
a
hiatus.
Both
deliver
sterling
performances.
Nana
is
in
terrific
form,
while
Dimple
is
grace
personified.
Watch
out
for
Dimple's
courtroom
sequence
and
you'd
realize
yet
again
that
there's
so
much
to
be
tapped.
One
is
sure,
after
you
exit
from
the
auditorium,
you'd
carry
Nana
and
Dimple
in
your
heart.
Suniel
too
strikes
a
chord
and
plays
his
part
with
amazing
maturity.
Vidya
Malavade
is
super,
a
dependable
actor.
Rehan
springs
a
pleasant
surprise.
It's
an
honest
performance.
Anjana
is
a
complete
natural
too,
displaying
the
varied
emotions
with
ease.
Amongst
the
host
of
supporting
actors,
Mohnish
Bahl
and
Amit
Behl
stand
out.
Raghav
Sachar
has
a
brief
role;
he
looks
photogenic.
The
child
actor
playing
Dimple's
grandson
is
very
good.
On
the
whole,
TUM
MILO
TOH
SAHI
has
decent
merits
that
should
find
flavour
with
the
multiplex
junta
of
Mumbai
mainly,
thanks
to
its
Mumbai-centric
theme.
Watch
it
for
the
wonderful
performances
by
Nana
and
Dimple!