Aaja Nachle - Komm, tanz mit mir

When I first saw the promos, I thought it will be a desperate attempt of a veteran (Madhuri Dixit) to make it back. But, I just wanted to see if Madhuri Dixit has lost the grace and charm after the break. And I am really glad to say that she's still easily the best of actresses Indian Film has seen.

The plot is not new (Swades, Lagan and so on have the same type of plot), but the way story was told was really good. There were times when they dragged the scenes a bit long. But only to emphasize on different emotions.

In the End, the Laila-Majnu play was just amazing. The sets and the costumes were really good. We have to give credit to that. Although the music was not so great but was good enough to keep the audience in theatre. Kon Kona Sen Sharma was amazing. If you have to take names, then the list would not end. Everyone did their best for a movie that dared to showcase art. Two thumbs up!

BOTTOM LINE: Its a bold attempt to show the art as it should be and not attempting to appeal to the new generation. That is the best thing I loved in this movie.

Upon release, Anil Mehta's Aaja Nachle, which was widely promoted as Madhuri Dixit's comeback vehicle, failed miserably. I watched it now for the first time, and I enjoyed it thoroughly. It is such a nice film - colourful, musical, beautiful. This it the story of Diya, a trained dancer who, many years ago ran away from her town with an American man she fell in love with and moved to New York. Now Diya is a professional dancer-choreographer, and a divorcée with one kid. In spite of having promised to never return to India, she hurriedly flies back when learns that her trainer is on his deathbed. She is late, as he has already passed away, but he leaves a message for her as his last wish, to save an old theatre named Ajanta (where she used to dance) from getting ruined and turned into a shopping mall. The story follows Diya's firm decision and later efforts to revive the Ajanta theatre in a town where she is widely infamous. Her plan is to set a new play named "Laila Majnu". The problem is that people in the town dislike her, and only a good response to it can change the theatre's fate.

Aaja Nachle is essentially a musical, nothing very serious, nothing to be taken seriously, and nothing that will provide you with new lessons in life. What it definitely does provide is entertainment, and there it scores. It is not a great movie, but it has a great sense of fun and it flows well. The song numbers are appropriately incorporated into the film, and in this one they are presented mostly as realistic situations in accordance with the story. The film has many subplots, many of which I think were effectively presented, particularly the one involving the character of Mohan Sharma, Diya's past fiancée who was abandoned as she ran away. Several sequences are extremely funny. My favourite is when different girls, most of whom know nothing about dance, audition for Diya's play. Director Anil Mehta is an accomplished cinematographer and he uses his skills to the max in his first directorial effort. Choreography by Vaibhavi Merchant, which is obviously very important, is very well done. The music directors duo Salim-Sulaiman compose a nice soundtrack without which the film would.

Aaja Nachle rests on the able shoulders of the wonderful Madhuri Dixit, who is as charming, natural and charismatic as ever. Clearly, her absence from movies has dimmed absolutely nothing about her, neither her acting prowess nor her ever-so commanding screen presence. Dixit is according to me one of the most beautiful women in the world, and here, her youthful, juvenile beauty is replaced by a more mature and ripe look which is equally appealing. Her eyes speak volumes, her expressions and gestures remain refined and forceful, and her smile... oh this gorgeous smile, it is as amazing and mesmerising as ever. Diya's persona is actually the one that made Dixit the star she is, the star who at some point could give any hero or heroine a run for their money. She is a strong woman who oozes charisma and dares to live life on her terms. The film doesn't give Dixit many opportunities, but she delivers. She is feisty yet gracious, fiery yet elegant, and she is always vivacious and graceful. And what can one say about her dance? Nothing except it is astonishing.

The supporting cast includes many great actors, most of whom are not given that much scope, some of whom getting really small parts, but all are good. Konkona Sen Sharma is awesome. She is simply hilarious as the aggressive, unrefined Anokhi who is madly in love and will do anything to get the man she wants, including dance like an idiot. Towards the end she looks very pretty and it is overall a very good performance. Kunal Kapoor as Imran Pathan is very fine in what can be termed as his own version of the angry young man. Nothing great, but despite playing an overly hostile and hot-tempered guy he's quite a likable fellow. Ranvir Shorey steals the show in a small role that is surely the best-written of all, and he is excellent. Akshaye Khanna in an extended guest appearance is good as he is in most of his films. Divya Dutta is very good in a tiny role, Irrfan Khan is criminally wasted in the even tinier role of her husband. Vinay Pathak is wonderful as "the boring husband". Sushmita Mukherjee is funny as his wife, while Raghubir Yadav and Jugal Hansraj provide good support.

Among the songs, I really liked the title track which is catchy and Madhuri's dance for it elevates it further. My favorite song, however, is the melodious "Ishq Hua". The film's best sequence is when the "Laila Majnu" play finally takes place. It is just beautiful, spectacular, and is clearly well-invested and wonderfully executed and performed. The ending is expectedly sugarcoated, but who cares? It seems like some people just cannot appreciate anything that is not dramatic. This film is generally a lighthearted musical, that's how it's treated - it is good Hindi film entertainment, and a time-pass movie, in the most positive sense of the word. Another complaint was that Madhuri got a rather bland role which didn't do justice to her talent. So, people had not seen her weeping copious tears for so long that they badly expected her to do it again? Can't an actor be good when he's playing a character with less tears and more smiles? Actually, the film is more of a tribute to Dixit's mastery of the art of dance, which was one of the main factors that made her so popular, and I say it's worth a watch.

I wanted to see this film and finally saw it in 2022 after 15 years. Well I am glad I saw it while I was alive, cause it was big back in the day. She made an excellent comeback after 90's and some early 2000 hits. I miss the 2000 s and some moments and films from 2010s, cause the way forward for Indian movies and life around the world just looks too... Untalented.

This movie was absolutely terrific from every angle. I watched 2 times in one day which is something I rarely do, not to mention I've got a life to live. But this movie was truly fascinating. Starting from the "O Re Piya" song, I felt alive and enthusiast. Madhuri is at her best in this movie, her dancing and acting are simply amazing which proves that she had nothing to worry about in regards to the comeback. The "Lila Majnu" musical was captivating, my emotions fluctuated, I cried and laughed all the way through the scene, such a master piece I must add. The couple, Imran and Anokhi, was great; their acting was as good as it should be, you can easily get attached to them and understand what they are going through. To all who have criticized the movie, I must say, you just didn't understand its creativity – give your mind a chance to let loose. I advice all to watch it and I'm looking forward to what Madhuri has in stored for us – the fans!

Madhuri Dixit's comeback movie, though bit loose in script and the story-line, sums up the importance of arts in our life beautifully. Aaja Nachle brings to surface how the business of expressing oneself (read performing arts) is an integral part of life.

Aaja Nachle has captured commendably well in the movie, the idea that everyone has an intrinsic desire to have that 'one moment of glory', the idea that everyone can 'show us some jalwa or the other', that dance, theater, music programs and such socio-artistic activities are essential to keep a society in tune with its innate desires to express, relate and emote to situations, that art forms can elevate a bored society stuck in the mundane business of life to new energy levels from time to time, and most importantly, the state has a role to ensure that the citizens have enough modes and means to avail entertainment at low costs.