Desi Movies Factory’s Ek Deewane Ki Deewaniyat (A) is a one-sided love story. Vikramaditya Bhonsle (Harshvardhan Rane) is a very powerful politician whose ambitious politician-father, Ganpatrao Bhonsle (Sachin Khedekar), wants to see him as the next chief minister. Vikramaditya has been brought up by only his arrogant and power-hungry father as his mother had died at child birth. His father has, all his life, held Vikramaditya responsible for his mother’s death. Vikramaditya falls head over heels in love with top Bollywood actress Adaa (Sonam Bajwa) and wants to marry her at any cost. Since Vikramaditya has been raised in luxury and by an arrogant and selfish father, he cannot accept “no” for an answer. The problems start because Adaa does not love him.
To have his way, Vikramaditya starts putting all kinds of pressures on Adaa and even hints at the possibility of ruining her flourishing career. Not to be bogged down, Adaa exposes him before his political followers and makes an unimaginable offer to the person who would kill Vikramaditya and thereby free her from the obsessive lover’s crazy moves. This makes Vikramaditya’s resolve even stronger. What happens finally? Does Adaa melt or does the obsessive Vikramaditya back off?
Mushtaq Shiekh and Milap Milan Zaveri have penned a story which appears dated. In the age of social media, it seems a bit weird that a top Bollywood heroine should have to take so much of ‘nonsense’ from a man whom she doesn’t love but who wants to marry her at any cost. In spite of the outdatedness, the duo’s screenplay in the first half is fairly interesting and even engaging because of the extent of obsessiveness of Vikramaditya.
Although the interval point has shock value, it doesn’t quite appeal to the audience because Adaa makes an offer to the public, which is self-defeating. The entire post-interval portion is badly written and the viewers get the feeling that the two writers have lost the plot and lost their way. For one, although Adaa wants Vikramaditya killed and she incites people to murder him, she goes scot-free in the eyes of law — something which simply doesn’t appeal. What’s more, she actually asks the commissioner of police to frame charges against her or else he’d be guilty of detaining her illegally! Really? After there’s an attempt on Vikramaditya’s life, he reveals that he had orchestrated the same as he wanted to send out a loud and clear message to the world at large that if anyone was thinking of killing him, a life in prison awaited him. How clever! It would seem that Vikramaditya was the only one who understood law and the rest of the world was so dumb that they didn’t even know about imprisonment being the punishment for murder. After the attempt on Vikramaditya’s life and while he is recovering, she lectures Vikramaditya about his chita as if he is due to die in a minute, but the fact is, he has survived the attack on his life. So her victory speech looks out of place if only because she has actually not been victorious! There’s another scene in which she announces her decision to walk bare-feet to a temple and pray there. Upon this, Vikramaditya, too, announces that he’d also walk bare-feet with her to the same temple and pray for something else. His excitement is that at least on this one occasion, he’d be able to walk with the one whom he obsesses over. Really? So what’s the big deal? He’s not dying to walk with Adaa, he is keen on marrying her and spending the rest of his life with her. The weakest twist in the screenplay is when, on being told that he was in no way responsible for his mother’s death, Vikramaditya tries to prevail upon Adaa to agree to his marriage proposal because he had not killed his mother and also because he was no longer power-hungry! Hello! When were these two ever issues which prevented Adaa from accepting Vikramaditya’s marriage proposal? This point is so weak that the audience realise that the writers had created a conflict/problem but had no solutions to resolve the same and, therefore, clutched at anything they could cook up. Even Vikramaditya’s PA (Shaad Randhawa) revealing the truth about the mother’s death doesn’t have the desired emotional impact for obvious reasons. Talking about emotions, they simply fail to touch the heart although the two lead characters keep shedding tears. Even the climax fails to move the viewers emotionally.
Milap Milan Zaveri’s dialogues have been written in the kind of flowery language which was in fashion many years ago. Oftentimes, he has resorted to tukk-bandi which is terribly irritating. Also, he has not been able to camouflage the fact that on several occasions, scenes have been force-written simply to accommodate a dialogue rather than dialogues being written to express scenes.
Harshvardhan Rane delivers a fine performance and gets into the skin of Vikramaditya Bhonsle’s character. But his permanent tilt of the head on one side is irritating. Sonam Bajwa acts well but a variation in her expressions would’ve given colour to her performance. Shaad Randhawa does an ordinary job of Vikramaditya’s PA, Sawant. Sachin Khedekar makes his presence felt as Vikramaditya’s father, Ganpatrao Bhonsle. Anant Mahadevan has his moments as Adaa’s father. Sakshi Sharma (as Adaa’s mother) and Sarah Killedar (as Adaa’s sister) lend routine support in roles that don’t give them much scope. Rajesh Khera is okay as businessman Raheja. Sunil Godse (as Madhavrao), Shailesh Korde (as Patil), Uday Nene (as the dhobi), Chirag (as the chief minister), Ganesh Deokar (as the chief minister’s PA), Ajay Madhok (as the police commissioner), Abeer Jain (as young Vikramaditya), Dinesh Jain (as the film producer) and the others provide ordinary support.
Milap Milan Zaveri’s direction leaves a lot to be desired. He needs to update his directorial skills to appeal to today’s audience. Music (Khubsoorat by Kunaal Verma, Deewaniyat by Kaushik-Guddu, Dil dil dil by Rajat Nagpal, Mera hua by Ankur R. Pathak, Bas tere hain hum by Rahul Mishra, Bol kaffara by DJ Chetas & Lijo George) is superhit and the biggest asset of the film. Every song is a delight to hear. The title track (composed by Kaushik-Guddu; lyrics by Kunaal Verma) is a runaway hit. Lyrics (Kunaal Verma, Siddhant Kaushal, Sameer Anjaan, Sachin Urmtosh, Prince Dubey) are weighty. Song picturisations (by Adil Shaikh, Remo D’Souza for Bol kaffara kya hoga, and Bosco-Caesar for Dil dil) are eye-pleasing. John Stewart Eduri’s background music is decent but ought to have been more impactful. Nigam Bomzan’s cinematography is fine. Ajay Thakur Pathania’s action and stunt scenes are functional. Tajamul Shaikh and Anshita Manot’s production designing, and Sajid Khan’s art direction are appropriate. Maahir Zaveri’s editing is reasonably sharp.
On the whole, Ek Deewane Ki Deewaniyat is a weak fare and will not be able to sustain at the ticket windows after the Diwali festive holidays in spite of super-hit music. However, considering its super-hit music and its reasonable cost and also its appeal for the masses, the chances of the film are not lost completely. Average to good-average.
Released on 21-10-’25 at Inox (daily 5 shows) and other cinemas of Bombay thru Avanika Films. Publicity: excellent. Opening: quite good. …….Also released all over. Opening was nice at many places.