Terence Frederick First of all, this is a commercial bollywood movie and so if you looking for a classy-art-flick then this ain't for you. The songs are very good and can't choose a single best one as they all are. The choreography dance sequence between Lolo and Maduri is something to look for. The camera-work is an eye candy and of course the movie sets. Lolo's role was memorable and no wonder she was presented the silver lotus. Madhuri was pleasing with her beautiful dance steps and of course with her smile. SRK (one of the best entertainer) will keep you charmed throughout the movie. I loved the theme that has such beautiful message. AK was well supportive with his screen presence. . The few sentimental scenes near the climax were annoying and director could've edited it out and the movie could've been made shorter at least by half an hour.

Avinash Patalay One of the last movies coming from the Yashraj banner where quality stood sacrosanct. Every department exhibits the Yash Raj signature stamp over it. As usual Yash Raj takes a single theme and puts his heart and soul into it ensuring the audience feels and connects. With Dil Toh Paagal Hain he attempts to convey "Someone..... Somewhere..... is made for you" and it comes across poetically beautiful. ¤ SRK:: He hams to his very best, but guess what? It goes extremely well with the character of Rahul. Rightfully, he is very soul of DTPH.¤ Madhuri Dixit:: The first-choice of "Darr" gets opportunity to work with Yashraj. She was spot-on in the character. And was absolutely gorgeous (special credits the costumes/ wardrobe department).¤ Karishma:: Fantastic performance. Call it ill-fate or whatever, post- Yash raj practically every top-actress begins her journey towards exit.¤ Akshay Kumar:: His cameo was supposed to be the surprise element which later on many copied. He was extremely raw in terms of performance but hey, he got the best song (the title song).¤ Aruna Irani:: Another important cameo which was effectively incorporated into the storyline as an important cog-in-the-wheel. And she delivered the goods to the utmost satisfaction.Music is one of the strong-points of DTPH. A couple of listens and they linger on for years to come. When it comes to Yashraj the lyrics from Anand Bakshi are a notch above the his usual. Playback from Lata was at its angelic best (and perhaps the last!). Costumes/ wardrobe were aesthetically beautiful. Manmohan Singh carries his signature style when it comes to DOP. Choreography was different from the Shiamak Davar group. Special mention is deserved for the story/ screenplay & dialogues. Finally the best part was the opening credits which truly communicates the entire message of the movie - simply awesome. Hats off Yash-ji!

krishna sivakumar This movie in my opinion was waste of time.The movie was too confusing and too hard and confusing.It has no romance.It was supposed to be a love triangle but it is not.The theme means there is some one for every one which is too un real and fake.Yash gives a terrible recipe for delight.Everthy thing is bad.The movie could have been fine if it not for the amateurish dialogs,screenplay and dialogs.Screenplay is confusing and is dull.Direction is mediocre.Dialogs are dull and tacky.Editiong is okay.Sound is goodReally the movie was not an absolute waste of time.It is watchable for Karishmas act.She dominates the movie from start to end(sorry Shah Rukh ).She is a complete scene stealer with a well deserved national award.She is pretty annoying at times.I could relate to her character in her skits.She is one great actress that should really come back and mainly should teacher her sister how to act.Shah Rukh Khan is amateurish.It is shocking to see that a man which gave one of the better performances that year with Pardes comes back with this trash.Madhuri looks stunning and thats it.But she does look great playing a show piece.Akshay barely has a role but still acts well and leaves a mark.Farida Jalal and Aruna Irani barely have a roleSongs are good.The filming is good.Technically the movie is superb.Camera work is flawless.Sets are looking stylish as ever and so are the locationsThis is watchable just for Karishma and the songs

akbarnali Yash Chopra has oft been noted for his bold dramas, masterful characterizations, and resonating romances. Who, indeed, can forget the battle of wills between Amitabh and Shahi Kapoor in "Deewar", or the palatable devastation of Sanjeev Kumar and Jaya Bachchan in "Silsila", or the magical majesty of Sridevi in the Rajasthani deserts of "Lamhe"? Chopra reached the pinnacle of creativity with "Lamhe" in 1991. The downward slump which followed was perhaps inevitable, but definitely regrettable. "Parampara" was intermittently enjoyable, thanks in large part to Aamir Khan. "Darr" had all the requisite ingredients for success, and is certainly his best film post-"Lamhe", but lacked the taut quality a thriller requires. Shah Rukh Khan was still engaged in quality roles at that point, and succeeded in stealing the limelight from Juhi Chawla who played the protagonist famously referred to as "K-K-K-Kiran".But alas. If the house of Chopra had attempted different themes in "Kabhie Kabhi", "Silsila", "Waqt", "Deewar", "Chandni", "Lamhe", "Aaina", and "Darr", it failed to break any substantial artistic ground with the flossy and flaccid non-event called "Dil To Pagal Hai".In fact, it is so glaringly insipid that one cannot compare it to the repertoire which bears the name Chopra. Its clear predecessor is another "film". One cannot help but draw parallels between DTPH and Sooraj Barjatya's heinously contrived Hindu Family Values farce "Hum Aapke Hain Kaun": both films are driven by their songs, costume changes, and familial uptopias. There is no story, no plot, and outside Karishma Kapoor's spraining her ankle, no significant occurrence in the entire 180 minutes. There is little-if any-depth to the characters. Ms. Dixit is present in both, playing the same girl with different names, who is burdened with a unique form of arrested mental development in which she suffocates her own desire in deference to the will of her extended family, who in both cases is eager to marry her off to her brother-in-law (Mohnish Bahl in HAHK) or her adoptive brother (Akshay Kumar in DTPH). A curious tipping of the hat to the idea of incest, indeed. Of course, fans of Ms. Dixit have seen her umpteen times before in potbolier love triangles: "Saajan", "Mohabbat", "Arzoo", "Dil Tera Aasiq", "HAHK", "Wajood", "Koyla", "Yaaraana", "Rajkumar", "Khal-Nayak", "Sahibaan", "Hum Tumhare Hain Sanam", etc., etc., etc. Perhaps she was unaware that other types of films existed, or that embodying misogynistic feminine ideals, sucking limes, and swishing her dupatta endlessly does not qualify as "acting".Shah Rukh is little better off with a half-baked and half-acted performance that has all the excitement of a dull thud. DTPH probably also marks the beginning of the descent of SRK's status as an actor. The joyous heights of "Kabhi Haan Kabhi Naa", "Baazigar", and "Raju Bangaya Gentleman" are all distant memories. He had officially resigned his screen persona to the nondescript romantic hero "Raj/Rahul" who has since been seen in "Kuch Kuch Hota Hai", "Mohobbatein", "Kabhie Khushi Kabhi Gham", and of course, "Veer Zaara". DTPH belongs, in all of miniscule relevance, to Karishma Kapoor. She is the only example of intelligence or artistry in the film, stealing each and every scene in which she appears, and garnering a well-deserved National Award. It is interesting that virtually every other leading actress in India at the time, including Juhi Chawla, Manisha Koirala, Urmila Matondkar, Raveena Tandon, Tabu, and even Kajol had rejected the role because it was deemed too insubstantial. Indeed, it is the *ONLY* thing that is substantial in this attempt to one-up the hacked-up and hackneyed "Hum Aapke Hain Kaun!"