Lamhe (1991)

[***1/2 stars / *****] 

Viren (Anil Kapoor), a young man visiting his ancestral home in Rajasthan, India falls for Pallavi (Sridevi), a gorgeous neighbor next door. Alas, the woman is in love with another man. Heartbroken, Viren organizes the couple's marriage and abruptly leaves for London. 

A few months later, the married couple dies in an accident leaving behind an infant daughter, Pooja. The daughter is raised by Viren's nanny in India. Years pass and Pooja grows up to be a cheerful, lively teenager (Sridevi again), a startling physical replica of her mother. Over the years, Pooja develops a fiery, undying love for the now middle-aged, elusive Viren. 

Lamhe is quite simply Yash Chopra's best romantic drama. It sensitively portrays the dynamics and layered complexities of love like few Hindi films do. 

Unconventional, timeless, against the norm, rebellious, deeply engaging and compelling, Lamhe is a remarkable work of cinema and justifies Yash Chopra's reputation as a fine, nuanced director. 

Sridevi towers and sparkles in her mother-daughter double turn. Lamhe is among the few great films that matches up to Sridevi's incredible talent. 

Anil Kapoor is at his best, chirpy and lovelorn as the young man, effectively toned down as an older businessman, Anupam Kher is a genius mad streak as Viren's friend Prem, while Waheeda Rehman adds dignity and poise as the ever-caring dai-ma. 

For those who love Hindi romantic dramas, skillful direction, great locales, with a dose of gorgeous film song picturizations and an incredible timeless story, Lamhe, but for some minor flaws, is fabulous viewing.    

Darr (1993)

[**1/2 stars / *****] 

Kiran (Juhi Chawla) studies in Shimla (Switzerland, undisguised). She is happily engaged to daredevil navy officer Sunil (Sunny Deol). 

But there is another secret suitor, her college mate Rahul (Yes, Shah Rukh Khan), a shy, awkward one who sings an anonymous song for her, guitar to boot. 

The shy guy doesn't show himself. Instead he chooses to terrorize Kiran, stammering (Kkkkkk...Kiran) on the phone, shadowing her and then in murderous shyness, attempts to kill Sunil.   

Unconventional concept 

Yash Chopra's Darr is a rare Hindi commercial movie with a stalker shown in negative light (well, kind of).

The makers of Darr do glorify the stalker's madness as a kind of feverish love. 

Hindi film heroes have stalked, teased and molested heroines no end onscreen, having the girls inexplicably fall for them, right up to the 'The Beginning' end credits. 

Shah Rukh Khan dazzles
Darr's trump card is Shah Rukh Khan's unconventional take on the Hindi film villain. 

The mannerisms that became repeated over several films and are now perennial mimic artist source material, were very effective in Darr. 

Darr review 
Despite the problematic depiction, Darr is a decent take on possessive love. 

The high point is when the three protagonists come together for a gentle conversation before the truth pops out. 

Songs, though beautiful, affect flow and mitigate all sense of dread. 

For once, even if in patches, story does take over starry airs. In ego-infested star-insecure Hindi film territory, that itself is a monumental achievement.